The philosopher Péter Egyed and the poet Géza Szőcs convinced István Darkó to write and to publish his writings in a separate volume. But Darkó's writings didn't form a regular genre. In his book is also disturbing the fact that one or two is similar to a short story, or to a narration, but it isn't though. With a literary expression this is such a text écriture, that it is patterned with some established genre. In those days, text and text literature should have had to live its time also in Romania, like in whole Europe, but this was such an unfortunate medium, where, if you didn't adapt to the literary standards, your writings were not published. Darkó didn't adapt to the contemporaneous literary standards, because it was not a stake for him as an actor. He wrote down, what he wanted, in the way he felt and saw. His writings were often the written modification of a sounding material. In certain case he could have heard earlier what happened than he could note it down. The writing was born from the sound, and one genre gave him the possibility of another one, but Darkó remained actually an actor in each genre, as both his tape plays and the writings are performable. In his "city" there live "distilled people", who behave amazingly, but with their thoughts, obsessions they carry the burden of every man. Darkó "plagiarized" many times from his earlier writings, he copies either from the programs of Cat Radio, or he published the writings of Henrik Szénégető or Fruléz, some other time he copied the articles of the paper titled Bendzin. The characters of his fictive world organize their own life, they create a fictive reality, with a certain deadly content, from which is can be understood the own reality, which is thoroughly hidden because of the normality of cowardice. The singularity of his writings stands in the fact that they create a structural fiction with multiple content and layers, that has a kind of hermeneutical relation to the contemporaneous reality. Darkó has never forgotten those who are writing the counter story, the cultural history of nastiness, against the world order creating force, who make all kind of traps for the heedless part of humanity; who harass, threaten and chase them. The people of darkness and nastiness can't be helped to power. Darkó's writings are all allusions to such an utopia, in which continuously utters the atmosphere and the hopelessness of the depressed existences, the Nothing.

The Forrás (Source)-series of the Kriterion Publisher had an official committee, an editorial council. The usual procedure was to ask for a reference either from them or from other famous writer. Two references had to support the Forrás-volume and the editor had the customary law to ask reference from whom he wanted to. He didn't ask for reference from whom he obviously knew that he would unfavourably opinion the manuscript. That's why Egyed turned to the poet and writer László Csíki and Andor Bajor, because he knew that they understood the message of the author. The two references were obtained, the volume was published, and then came the standpoint of the official editorial council's men according to which Egyed had gone beyond the rules and that he had exaggerated or rushed with this thing. This was discussed at the consultation organized at the Utunk (Our Way) from Cluj, the literary, artistic and critical weekly of the Hungarians from Romania. There participated Zsófia Balla, Géza Szőcs, representing the third Forrás-generation, but who said that the manuscript had to be published at all means, because it was important, it expressed something that came from their life experiences. They found themselves in Darkó's writing, rather than in other writings, that had been published earlier in the Forrás-series, boringly, grayed, dusty, forgettable. Péter Egyed interprets the expression of cultural resistance, which has popped up also in the Romanian press and constitutes a specific genre, in its content as being about an another culture. He claims that, because as the editor of the Kriterion Publisher he knew exactly the censorship instructions. He knew very well, what would be that culture what the Romanian Communist Party awaited from the authors. He knew the key terms, he corresponded because of various things with the ideological secretaries, who always wrote down what the poem, the prose and so on had to contain. If these wasn't contained in it, an another culture was obviously born, not that what it is according to the official expectation system, that works in it. But this couldn't work, because no one was willing to write as party official in the eighties. Specifically, in a situation that concerns the Cat Radio, and where there is about nothing else than the fact that everybody is chased, the chaser are also being chased round and round, this couldn't really be a content corresponding to any official ideological norm. According to Egyed the "opposition" says openly: "this not". Darkó's writing doesn't go directly against the system, but it says that there is an "Another", which expresses you and which has nothing to do with this system. That says that what you live in is not like that, and pay attention to the fact that you are being chased, that you are near to death. These are the feelings that come over from his text.

The volume published in 5000 examples, which represents today an astonishing number of copies, created a quite considerable literary subculture. The interpretation of Darkó's writings popped up periodically further on in the works of the literary critic Attila Mózes, the literary man Levente Gyulai, the artistic writer Gábor Martos, or of the literary historian and poet Ágnes Kata Miklós.