{"id":178,"date":"2024-07-09T22:59:03","date_gmt":"2024-07-09T20:59:03","guid":{"rendered":"https:\/\/pluh2.wordpress.com\/?page_id=178"},"modified":"2026-02-27T19:17:40","modified_gmt":"2026-02-27T19:17:40","slug":"patrik-ourednik","status":"publish","type":"page","link":"https:\/\/pluh.org\/index.php\/authors\/patrik-ourednik\/","title":{"rendered":"Patrik Ou\u0159edn\u00edk"},"content":{"rendered":"\n
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\u201cHeir of Kafka and of the good soldier \u0160vejk.\u201d<\/em><\/p>\n\n\n\n

\u2014 Radio France<\/p>\n<\/blockquote>\n\n\n\n

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\u201cWith Patrik Ou\u0159edn\u00edk, you never quite know what you\u2019re dancing to, or whether you should be dancing at all.\u201d<\/em><\/p>\n\n\n\n

\u2014 Lire (Jean Montenot)<\/p>\n<\/blockquote>\n<\/div>

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Patrik Ou\u0159edn\u00edk (1957) is one of the best selling and most popular Czech writers of our time in the world. His book Europeana<\/em> is being published in 38 languages, and is thus the most translated Czech work of the last 30 years. His books gets wide appraisal and are regularly nominated for various literary prizes. Ou\u0159edn\u00edk himself was honoured several times, for instance with the Tom Stoppard Prize 2013 and the Czech State Award for Literature 2014.<\/p>\n\n\n\n

Europeana<\/em> has been put on stage in numerous countries e.g. by the world famous director Heiner Goebbels. In 2020 the Royal Shakespeare Company prepared a stage production of Europeana<\/em>, but that had to be cancelled due to covid. Recently it was succesfully put on stage in Finland, Sweden and Germany<\/p>\n\n\n\n

Ou\u0159edn\u00edk spent his youth in Prague. In the 1970s he participated in the activities of the Jazz Section (an independent cultural organization), and in 1979 he signed a petition of VONS (Committee for the Defense of the Unjustly Prosecuted) for the release of political prisoners in Czechoslovakia, which closed his access to university studies. He held a number of different jobs, including bookstore clerk, archivist, storekeeper, orderly, mailman, and domestic worker. At the same time, he was active in chess. In 1984, he emigrated to France. From 1986 to 1998 he served as editor and head of the literature section of the quarterly L\u2019Autre Europe. In 1992 he was instrumental in founding the Free University of Nouallaguet, and he has lectured there since 1995.<\/p>\n\n\n\n

He is at home in many genres. From novels and poetry to essays and linguistic works, including a dictionary of Czech slang. He is famous for his precise and inventive use of language, and many of his works excel in dry humour. Besides his alternativethe 20th century in the text Europeana<\/em> (in a “novel without a narrator”), Ou\u0159edn\u00edk also tackles ideological stereotypes and conventions in P\u0159\u00edhodn\u00e1 chv\u00edle, 1855<\/em> (An Opportune Moment, 1855)<\/em> (2006), whose theme is the founding of settlements on the American continent by Europeans eager to create free communities independent of the European context. He returns to the Czech Republic in Ad acta<\/em> (Case Closed) (2006), a “metaphysical thriller”, an apparent detective story with retired characters, but in reality mainly a sarcastic account of Czech post-communist society. In his essay on literary utopias across Western history, Utopus to byl, kdo u\u010dinil m\u011b ostrovem<\/em> (Utopus It Was Who Made Me an Island)<\/em> (2010), Ou\u0159edn\u00edk traces the history of thinking about society from Homer to 19th-century social utopias and contemporary dystopias.<\/p>\n<\/div>\n\n\n\n

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Novels<\/strong><\/em><\/h4>\n\n\n\n

Rok \u010dty\u0159iadvacet<\/a><\/strong> <\/a>(Year Twenty-Four)
Volvox Globator, Prague (1995)<\/em><\/p>\n\n\n\n

Europeana – Stru\u010dn\u00e9 d\u011bjiny dvac\u00e1t\u00e9ho v\u011bku<\/strong><\/a> <\/a>(Europeana – A Brief History of the Twentieth Century)
Paseka, Prague (2001)<\/em><\/p>\n\n\n\n

P\u0159\u00edhodn\u00e1 chv\u00edle, 1855<\/strong><\/a>\u00a0<\/a>(The Opportune Moment, 1855)
Torst, Prague (2006)<\/em><\/p>\n\n\n\n

Ad acta<\/strong><\/a> (Case Closed)
Torst, Prague (2006)<\/em><\/p>\n\n\n\n

La fin du monde n\u2019aurait pas eu lieu \/ Konec sv\u011bta se pr\u00fd nekonal<\/strong><\/a>\u00a0<\/a>(The End of the World Might Not Have Taken Place)
Allia, Paris (2017)<\/em><\/p>\n\n\n\n

Histoire de France \u2020 \u00c0 notre ch\u00e8re disparue <\/strong>(A History of France – For Our Dearly Departed)
Allia, Paris (2014)<\/em><\/p>\n\n\n\n

Poetry<\/strong><\/em><\/h4>\n\n\n\n

Anebo <\/strong>(Either)
Volvox Globator Publishers, Prague (1992)<\/em><\/p>\n\n\n\n

Ne\u0159kuli<\/strong> (Let Alone)
Mlad\u00e1 fronta Publishers, Prague (1996)<\/em><\/p>\n\n\n\n

D\u016fm bos\u00e9ho<\/strong> (The house of barefoot)
Paseka Publishers, Prague (2004)<\/em><\/p>\n\n\n\n

Essays<\/em><\/h4>\n\n\n\n

Utopus to byl, kdo u\u010dinil m\u011b ostrovem<\/strong> (It Was Utopus Who Made Me an Island)
Torst, Prague (2010)<\/em><\/p>\n\n\n\n

Hled\u00e1n\u00ed ztracen\u00e9ho jazyka<\/strong> <\/strong>(In Search of the Lost Language)
Zden\u011bk Susa (1997)<\/em><\/p>\n\n\n\n

Svobodn\u00fd prostor jazyka<\/strong> <\/strong>(On the Free Exercise of Language)
Torst, Prague (2013)<\/em><\/p>\n\n\n\n

Correspondances \/ Correspondencias – Angel Erro & Patrik Ou\u0159edn\u00edk<\/strong>
<\/strong>Erein, San Sebastian (2016)<\/em><\/p>\n\n\n\n

Antialkoran<\/strong>
Volvox Globator, Prague (2017)<\/em><\/p>\n\n\n\n

Linguistic works<\/em><\/h4>\n\n\n\n

\u0160m\u00edrbuch jazyka \u010desk\u00e9ho. Slovn\u00edk nekonven\u010dn\u00ed \u010de\u0161tiny<\/strong>
(Rough-book of the Czech Language: A Dictionary of Unconventional Czech)
Edice K, Paris (1988)<\/em><\/p>\n\n\n\n

Ani\u017e jest co nov\u00e9ho pod sluncem. Slova, r\u010den\u00ed a \u00faslov\u00ed biblick\u00e9ho p\u016fvodu <\/strong>
(And There Is Nothing New Under the Sun: A Dictionary of Words, Idioms and Phrases from Biblical Origin)
Mlad\u00e1 fronta, Prague (1994)<\/em><\/p>\n\n\n\n

Kl\u00ed\u010d je ve v\u00fd\u010depu. Z folkl\u00f3ru WC<\/strong> (The Key Is At The Bar. WC Folklore)
Volvox Globator, Prague (2000)<\/em><\/p>\n\n\n\n

French<\/em><\/h4>\n\n\n\n

Des 112 fa\u00e7ons desquelles on peut faire rouler un tonneau \u00e0 huile <\/strong>(co-author Ji\u0159\u00ed Pel\u00e1n)
Conf\u00e9d\u00e9ration du travail syndicaliste, Limoges (1999)<\/em><\/p>\n\n\n\n

Des 55 esp\u00e8ces de brodequins dont on peut s’entourer les pieds en hiver<\/strong> <\/strong>(co-author Ji\u0159\u00ed Pel\u00e1n)
Assembl\u00e9e r\u00e9gionale des m\u00e9tiers, Limoges (2001)<\/em><\/p>\n\n\n\n

Various<\/em><\/h4>\n\n\n\n

Pojedn\u00e1n\u00ed o p\u0159\u00edpadn\u00e9m pit\u00ed v\u00edna, toti\u017e velik\u00e9m a ustavi\u010dn\u00e9m<\/strong> (A Discourse on Possible Wine Drinking, Namely Grandiose and Continuous)
Volvox Globator, Prague (1995)<\/em><\/p>\n\n\n\n

O princi \u010cekankovi, jak putoval za princeznou, a o v\u0161elijak\u00fdch dobrodru\u017estv\u00edch, kter\u00e1 se mu p\u0159i tom p\u0159ihodila <\/strong>(On Prince Chicory, His Journey to the Princess, and All Kinds of Adventures That Happened to Him Along the Way)
Volvox Globator, Prague (1997)<\/em><\/p>\n\n\n\n

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\u201cHeir of Kafka and of the good soldier \u0160vejk.\u201d \u2014 Radio France \u201cWith Patrik Ou\u0159edn\u00edk, you never quite know what you\u2019re dancing to, or whether you should be dancing at all.\u201d \u2014 Lire (Jean Montenot) Patrik Ou\u0159edn\u00edk (1957) is one of the best selling and most popular Czech writers of our time in the world. […]<\/p>\n","protected":false},"author":1,"featured_media":1542,"parent":1357,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-178","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/pages\/178","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/comments?post=178"}],"version-history":[{"count":4,"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/pages\/178\/revisions"}],"predecessor-version":[{"id":1685,"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/pages\/178\/revisions\/1685"}],"up":[{"embeddable":true,"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/pages\/1357"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/media\/1542"}],"wp:attachment":[{"href":"https:\/\/pluh.org\/index.php\/wp-json\/wp\/v2\/media?parent=178"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}