At the 5th Congress of the Latvian Soviet Writers' Union in December 1965, the younger generation of writers and the more liberal section of the older generation managed to oust from the Union's Executive Board the five most notorious defenders of Socialist Realism and the Communist Party line in literature. A more liberal leadership of the Union was elected. In speeches at the congress, the younger generation of writers spoke out in favor of more creative freedom, against censorship, for the rehabilitation of the pre-Soviet literary heritage, and about the possibilities of getting more information about Latvian exile literature and world literature in general, and protested against the ban on the Jāņi midsummer festival. Although the Latvian Communist Party Central Committee was unhappy with the results of the congress, it had to put up with them. The congress was an important turning point in Latvian literature, and in the history of the Writers' Union, which changed from being an obedient follower of the Communist Party into an organization which was willing and able (although within certain limits) to defend creative freedom and the national culture.

This is a typewriter letter consisting of 2 pages in extended tabloid format. The document was written in German on 25 November 1965, and since the Draganović’s handwritten signature is lacking, we may assume that it is a copy of a letter which Draganović wanted to store in his archives/personal papers. The original of this document is available at the Pontifical Croatian College of St. Jerome in Rome, and the copy is in the Croatian State Archives. The material is available for research and copying and is located in registry no. 2, under number 6.2.

The German Social Democratic politician Dr. Wenzel Jaksch (1896-1966), was the president of the German Foundation for European Peace Questions (Deutsche Stiftung für Europäische Friedensfragen). Draganović wrote him a letter in which he explained the need for publishing his book on the Bleiburg tragedy of the Croatian people. Draganović said that the book will contain considerable information about the crimes of the Yugoslav communist regime unknown to the world public. He stated that he planned to publish the book in three languages and he asked for financial support from the German Foundation for European Peace Questions, presided over by Wenzel. The letter testifies that Draganović was in the final stages of preparing his book, which was completely unacceptable to the communist regime in Yugoslavia and whose publication the government sought to prevent. This document is important because it explains the underlying intention of the creator of the Krunoslav Draganovic collection: the publication of a book about the Bleiburg tragedy.

Mykhailyna Khomivna Kotsiubynska and Zina Genyk-Berezovska became acquainted in Kyiv during a visit by the latter to the Ukrainian capital in 1964. They became fast friends, Kotsiubynska’s letters accounting for more than a third of the letters sent to Genyk-Berezovska. The letters are now held and the T.H. Shevchenko Institute of Literature in Kyiv, Ukraine. The entire correspondence is the byproduct of a close female friendship, one that was deep and forged during a difficult time. The three letters sent in 1965 show that these two were under surveillance, as their letters were often lost, or more likely confiscated in transit. Kotsiubynska's letter from July 30, 1965 asks why there has not been any word from Genyk-Berezovska. Kostiubynska was particularly aggrieved because she had sent an important letter in which she wrote among other things about the death of a close relative and Kotsiubynska's adoption of her four-year-old daughter. Genyk-Berezovska wrote back sometime later, prompting Kotsiubynska to write a letter on August 21, 1965, underscoring how important this correspondence was to her and asking Genyk-Berezovska to write more frequently. The letter from September 30, 1965, opens with "Zinochka, my dear bumble bee!" Kotsiubynska asks why she has not heard from Genyk-Berezovska and wonders whether she is ok. Kotsiubynska writes that she misses Genyk-Berezovska greatly, especially given what is happening in Ukraine at this time. In Aesopian language, Kotsiubynska explains that things are not going well and that one of their friends has been arrested. "Things are not fun for us right now. Our friend, who has not written you for so long, will not be able to write you again for some time. And it is not his fault." She also asks whether Genyk-Berezovska received an earlier letter, presumably in order to ascertain whether it might have been intercepted by the state security services. When one reads back letters sent between these two women--especially those written in the late 1960s and early 1970s--one can feel the stresses of not being able to communicate regularly and with any certainty. This weighs heavily on Kotsiubynska, who is also under pressure and surveillance from the authorities. In May 1966, she asks Genyk-Berezovska if she has received a letter from Ivan, referring to Svitlychny, who had been released on April 30, 1966 for being "socially harmless." Apparently, his stature and popularity had been so great and the protests against his arrests so numerous, that the authorities opted to release him. The following year, Kotsiubynska wrote two letters that were only ten days apart--July 5 and july 15. In the first, she tells Genyk-Berezovska that she has been fired from her job and expelled from the Communist party. In the second, she says simply "this year has worn me down completely." Through their correspondence, one senses the immense psychological pressure facing literary scholars and human rights activists in Ukraine at this time, though one would also have to read Genyk Berezovska's responses in order to have the complete picture. 

Benedikt Rejt Gallery and its collection were founded in the 1960s with the aim of collecting contemporary tendencies in visual arts. The gallery kept buying works by progressive artists even after 1968. The Benedikt Rejt Gallery owns a unique collection of constructivist pieces.