[2] A complex thinker and controversial personality, Javoršek is frequently considered, together with the writer Vitomil Zupan, as the paradigmatic example of the World War II and postwar generation of Slovene intellectuals.

[3] Javoršek was born as Jože Brejc in the small Lower Carniolan town of Velike Lašče, in what was then the Kingdom of Serbs, Croats and Slovenes.

During World War II, Javoršek joined the Partisan resistance, where he fought alongside the later philosopher and literary critic Dušan Pirjevec and the writer Vitomil Zupan.

[7] He established close contacts with the stage directors Žarko Petan and Bojan Štih who both shared some of Javoršek's modernist and progressive esthetic views.

Javoršek managed to stage several plays based on the theories of Antonin Artaud and Alfred Jarry in the Drama Theatre of Ljubljana, directed by Štih.

After World War II, a collection of his wartime poems, entitled Partizanska lirika ("Partisan Lyrics"), was issued in 1947.

During his lifetime, he published another collection of poems under the title Usoda poezije ("The Fate of Poetry", 1972), which he himself edited with extensive critical and biographical commentary.

He also published a Guide Through Ljubljana (Vodnik po Ljubljani) in which he presented the city's sights and history in the light of an ironic, philosophical and existential reflection, linking the monuments to the personal fates of the famous individuals connected with them.

The epistolary novel Nevarna razmerja, a paraphrase of Pierre Choderlos de Laclos'es famous book Les Liaisons dangereuses, is written as a serial of partially authentic and partially fictitious letters between the author and several notable figures, both living and dead, among whom Vitomil Zupan, Boris Pahor, Pierre Emmanuel, Taras Kermauner, Dusan Pirjevec, and Francesco Robba.

Shortly before his death in 1990, he also contributed to the monograph Histoire et littérature slovènes ("Slovenian History and Literature", published by the Centre Georges Pompidou of Paris.

He also translated several important authors into Slovene, mostly from French and Serbo-Croatian, among them Corneille, Molière, Hippolyte Taine, Eugène Ionesco, Jean Anouilh, Edmond Rostand, Jean-Paul Sartre, Albert Camus, and Meša Selimović.

His dubious relationship with the establishment, as well as his sometimes extremely acrimonious attacks on the contemporary literary circles, both Slovene and French, gained him the nickname The Lonely Rider.

[13][14] Among the several scabrous details described by Javoršek in the copious work, are the misdeeds of the influential thinker Dušan Pirjevec Ahac allegedly perpetrated during the war resistance, as well as the conduct of notable personalities such as the literary critic Josip Vidmar and the poet Edvard Kocbek, for whom Javoršek worked as a personal secretary.

As such, he often claimed he had the license of a court jester and loved drawing parallels between himself and the famous playwrights in history who were also theatre managers, such as Shakespeare, Molière or Carlo Goldoni.

Although he tried to avoid direct clashes with the Communist establishment after his release from jail, Javoršek was one of the main driving force behind the establishment of the Stage '57, an alternative theatre created in 1957 by the younger generations of Slovene artists, which had a crucial role in shaping their generation against the pressures of the repressive cultural policies of the Communist regime.