Bogza had lifelong contacts with some representatives of the Romanian avant-garde, among them Victor Brauner, Max Blecher, Sesto Pals, Sașa Pană, and Paul Păun, and was friends with, among others, the essayist and theologian Nicolae Steinhardt, the dissident Gheorghe Ursu, and the filmmaker Mircea Săucan.

[1][2] Bogza refuted the allegation by indicating that his father was originally from the village of Bogzești, in Secuieni, Neamț County, and that his mother (née Georgescu) was the daughter of a Romanian Transylvanian activist who had fled from Austria-Hungary to the Kingdom of Romania.

[1] During that period, Geo Bogza became one of the most recognizable young rebellious authors, a category that also included, among others, Marcel Avramescu, Gherasim Luca, Paul Păun, Constantin Nisipeanu, and Sesto Pals.

[4] Winning the praise of his fellow young authors Stephan Roll and Ilarie Voronca,[8] he was criticized by prominent literary figure George Călinescu, who accused him of "priapism",[3][8] based on Bogza's irreverent tone and erotic imagery.

[1] His collaboration with Pană, Roll, Ion Vinea, Simion Stolnicu, and others led to the ad hoc establishment of a literary group, which was defined by writer and critic Camil Petrescu as "the revolutionaries from Câmpina" (after the town where Bogza spend much of his time).

[10] After 1930, he was involved in polemics with traditionalist young authors, including poet Otilia Cazimir (whom he accused of writing with "hypocrisy") and members of the eclectic grouping known as Criterion (who, he claimed, were guilty of "ridicule and opportunism").

[4] In reference to his trial, the magazine unu wrote: "Bogza will be tried and receive punishment for having the imprudence of not letting himself be macerated by «proper behavior», for having dunked his arms down to the feces, for having raised them up to his nose, smelling them and then spattering all those who were dabbling with their nostrils unperceptive of his exasperated nature.

[6] Writing for Azi, a review edited by Zaharia Stancu, Bogza dismissed the accusation as a cover-up for an increase in authoritarianism as King Carol II was attempting to compete with the fascist Iron Guard.

[18] In 1934, while visiting Brașov in the company of his wife, Bogza met Max Blecher, a young man who was beddriden by Pott's disease and had started work on the novel later known as Întâmplări din irealitatea imediată ("Events in Immediate Unreality").

Historian Vladimir Tismăneanu indicated that he was one of the few genuine left-wing intellectuals associated with the regime during the 1950s—alongside Anatol E. Baconsky, Ovid Crohmălniceanu, Geo Dumitrescu, Petru Dumitriu, Paul Georgescu, Gheorghe Haupt, Eugen Jebeleanu, Mihail Petroveanu, and Nicolae Tertulian.

[26] According to Tismăneanu, this group was able to interpret the cultural policies endorsed by Romania's leader Gheorghe Gheorghiu-Dej after the Hungarian Revolution of 1956 threatened to disrupt communism in neighboring countries, when the regime turned against advocates of liberalization such as Miron Constantinescu, Mihail Davidoglu, Alexandru Jar, and Ion Vitner.

[26] Commenting on this, Tismăneanu noted that Geo Bogza and all others failed to distance himself from the new repressive mood, and that the group's silence indirectly helped chief ideologist Leonte Răutu and his subordinate Mihai Beniuc to restore effective control over the Romanian Writers' Union.

In an article he contributed to Borba, Yugoslav writer Marko Ristić, who spoke of the Romanian as "my friend [...], the nostalgic, gifted and loyal Geo Bogza", took the Scînteia campaign as proof that the Gheorghiu-Dej regime was still reminiscent of Joseph Stalin's.

[29] Ristić, who feared the purpose and effect such attacks had on Romanian culture, noted that Bogza had "in vain, done his utmost, by trying to adapt himself to the circumstances, not to betray himself, even in the period when Stalin alone [...] was solving esthetic problems, appraising artistic works and giving the tone in his well-known method.

[34] Tismăneanu cited him among the most important intellectuals of various backgrounds to have done so, in a class also comprising members of the Oniric group, as well as the cultural figures Jebeleanu, Ion Caraion, Ștefan Augustin Doinaș, Dan Hăulică, Nicolae Manolescu, Alexandru Paleologu, and Mircea Zaciu.

[37] In the 1970s, Bogza and several of his Writers' Union colleagues became involved in a bitter conflict with the nationalist Săptămâna magazine, which was led by novelist Eugen Barbu (who was also one of the persons overseeing censorship in Communist Romania).

[41] In late March 1989, ten months before the Romanian Revolution overthrew communism, Bogza, together with Paleologu, Doinaș, Hăulică, Octavian Paler, Mihail Șora, and Andrei Pleșu, signed the Letter of the Seven, addressed to Dumitru Radu Popescu (head of the Writers' Union) in protest over poet Mircea Dinescu's house arrest by the Securitate.

"[1][2] Geo Bogza's spoke in defense of taboo words such as căcat ("shit") and țâță ("tit"), arguing that the original frankness of Romanian profanity had been corrupted by modern society.

Adunați pe întâiul meridian al sexului proxeneții continentelor au hotărât să aleagă marele Mongol al vaginurilor Pentru cele mai frumoase fete ale popoarelor ziarele continentale au întocmit elogii pe mii de coloane Pentru bijuteria vaginului premiat miliardarii continentelor își ascut în umbră phalusul lor de aur.

As a youth, he extended his protest to the cultural establishment as a whole—while visiting the high school in Ploieşti, where he was supposed to address the staff, he attacked local educational institutions for "taking care to castrate [...] the glands of any outright affirmation", and for resembling "the Bastille".

[2] I, who am black and ugly, who, like the oil-bearing hills, have always had something horrible smoldering in my innards, I, who soil and destroy everything I touch, who am as foul, fervent and ignorant as oil and, like it, explode without caring about the calamity my words bring into the world.

[5] George Călinescu proposed that, "although written in the most normal of syntaxes", his pieces were still connected with avant-garde styles such as Surrealism and Dada, and answered to a call issued by unu's Paul Sterian to seek life at its purest.

[3] In parallel, Călinescu contended, Bogza's path mirrored those of Italian Futurists such as Ardengo Soffici and Filippo Tommaso Marinetti and that of the French Hussards leader Paul Morand.

[48] In one of his satirical pieces, Bogza mocked the Romanian Post seemingly excessive regulations to have writing utensils made available for the public, but secured in place with a string: "A million penholders stolen in Romania would almost be an act of culture.

[5] In one such article, Bogza claimed to have witnessed the sight of proletarians who were living in "new and white-painted houses" and had manufactured business cards for themselves, proudly advertising their qualifications in the field of work and positions in the state-run factory.

The text praised the regime for designing and ordering work to begin on the Danube–Black Sea Canal, which, in reality, was to prove one of the harshest sites for penal labor, where thousands of political prisoners were to be killed.

[53] Grigurcu, who placed stress on the closeness between these writers and dissenting but high-ranking Communist Party activists such as Gheorghe Rădulescu and George Macovescu, called attention to the fact that Bogza had refused to sign his name to an appeal for radical change, drafted by novelist Paul Goma in 1977.

Alongside Nicolae Ilie and his death, his early poems make direct references to Alexandru Tudor-Miu, to the poets Simion Stolnicu and Virgil Gheorghiu, and to Voronca's wife, Colomba.

[4] The piece, defined by S. A. Mansbach as one of Brauner's "most fully realized Surrealist canvases of [the early 1930s]", depicted the subject nude, with a severed head and elongated sex organs (symbols which probably alluded to elements present in Bogza's own texts).

[58][59] A story of violent workers leading miserable lives and tempted to steal for their livelihood, it was adapted for the screen and directed by Mircea Danieliuc, and starred Dorel Vișan in the title role (other actors credited include Cecilia Bîrbora, Ion Fiscuteanu and Dinu Apetrei).