Poetry of Hudák is about seeing the crazy music, about restless, torturing nights, desperate night phone calls with an unknown voice, about searching for water in times of greatest thirst as well as about boozing, so that nothingness as a first-hand experience could get a man out of lethargy, so that it would be somehow possible to experience the happiness. Poet as an observer turns everything upside down, and even if he paralyzes the readerʼs expectations, he leads him to catharsis just like Kahloʼs paintings, in which the modifications of particularly pessimistic backgrounds show the innocence of likeliness, inability of having a sovereign control of own inside – and in this way the poetry par excellence is created.

Radovan Brenkus

In his poems often turns himself into the past to have better understanding the savageness inside of human floating in the wild stream of the present day. He moved with a playful easy of a curious wanderer in a different space of time to bring out the worrying doubts with a combined imagery. Irritated by the idea of unknown: the modernized future and anchoring man in it. Already his debut Peach twilight was based at home deep-rooted position as a fundamental, unquestionable value.

Miroslav Brück

Only seemingly, as if this poetry was giving in during the first reading, it disturbs by ambiguity, by anticipating the drama. Many things remain unanswered, just when we thought we found its meaning (I have to). Hudák could see through, beyond and above the things, he concentrated all three time levels into a single moment, the anticipation of untimely end is involved in the obsession with death – continuously present. The life is seen as "the short film / between two / breaks" (Eternity). From all sorts of things we can deduct that we can't be very optimistic about what is coming – and not just because we can't verify our judgements.

Ľudovít Petraško

The subject of this kind of poetry – in an unbearable urgency of oneself and the world – lives with his own rootlessness, "is unintentionally getting in the way of other people", or "he is standing on the second track as the train to Bratislava". He is alone at night and against the night, in which the roar of trains multiplies his failure, inability to go somewhere. He is alone and continuously facing with returning visions and premonitions, facing with nothingness, doom and destruction. Or he is "alone" only with ephemerality of things and relationships, however he tries to reestablish them – in memories materialized in own work, which is not a gesture, but perhaps the last meaningful action.

Marián Hatala