His ancestors on his father's side came to Poland from Hungary, which is why several forms of the poet's polonized family name exist in documents (Gajc, Gajca, Gaycy, Gajczy).

His mother's brother Stanislaw Zmarzlik was a very talented dancer who achieved artistic success in Western Europe and the USA under the stage name Stanley Barry.

For this reason, despite the official dissociation of the Marian Fathers from politics, the school was a very popular place of education for young people influenced by the national movement.

After the outbreak of the war, the Marian Center in Bielany was the main point of support for the Konfederacja Narodu's [Confederate of Nation] activity in Warsaw.

In the summer of 1939, Gajcy submitted several poems to the editors of Prosto z mostu (Straight from the Bridge), the most widely read socio-cultural weekly at the end of the interwar period.

The editor, Stanisław Piasecki, promised to publish them in autumn in a special insert containing debut poems of teenage "verse-poets".

Before others, Gajcy had read the classics of world literature: the works of Joseph Conrad, Franz Kafka, Knut Hamsun, Anton Chekhov, Jarosław Haszek and Fyodor Dostoyevsky.

Having received a refusal, and in accordance with a radio announcement by Colonel Roman Umiatowski appealing to men capable of carrying weapons to march East, he left Warsaw.

During his studies, he avoided German repression thanks to resistance cells that intercepted a letter written by his friend from the secret classes denouncing them to the Gestapo.

The organisation of the magazine was a joint work of Włodzimierz Pietrzak, head of the propaganda and political department of the KN, and Onufry Bronisław Kopczyński, a poet and composer, who became the first editor of SiN.

The magazine's editorial board included eminent artists of the younger generation, both ideologically linked to the KN and those mentioned above: Kopiczyński, Pietrzak and Zdzisław Stroiński, Wojciech Mencel, Tadeusz Sołtan, Stanisław Marczak-Oborski, Lesław Bartelski.

Young people from elite homes, whose parents often represented completely different political views, e.g. Leszek Kostek-Biernacki was the son of Waclaw Kostka Biernacki, joined the KN.

After joining the organisational structures, Gajcy took an active part in secret literary meetings, where readings and discussions were held and even theatre performances were staged.

At the same time, he wrote for other magazines: such as Kultura Jutra (Culture of Tomorrow), Prawda Młodych (Truth of theYouth), Dźwigary (Levers), and Biuletyn Informacyjny (News Bulletin).

In October 1942 the Information Bulletin of the KN announced a competition for a soldier's march, which Gajcy won with his song Uderzenie [Strike], to which Jan Ekier wrote the music.

The photographers were surprised by so called Blue Policeman, Gajcy reacted nervously, as a result of which Bojarski was shot and died ten days later, while Stroiński was arrested, beaten up and sent to the Pawiak prison.

Although Gajcy understood the need to differentiate between being an artist and being a soldier, just like the entire SiN and KN milieu, he sought a place for himself as a militarised poet, disciplined, mentally strong, and brave, the one who influences not only through his artistic work, but at the same time is ready to lead a unit into battle, which is doomed to failure in advance, but is in line with the ideal of commitment and combat.

[1] Gajcy associated himself ideologically with the political message of the KN and its philosophy based on the idea of universalism, building the Slavic Empire under Polish leadership on the ruins of the two occupying powers, criticising democracy, as well as the pre-war Sanation rule.

A critical attitude to the culture of the inter-war period was contained in his sketch Już nie potrzebujemy ["We do not need it any more"] and the essay O wawrzyn ["For the laurel"].

In order to increase the scope of the Movement's influence, he held talks with Krzysztof Kamil Baczyński with a view to recruiting him into the organisation's structures.

It was difficult for Gajcy to keep up with the pace of work of his predecessors, as he was first and foremost a poet, and not a theoretician like them, which is why the magazine under his leadership departed from political journalism in favour of content of typically artistic value.

In order to achieve this, extensive staff structures were needed, which is why already during the war the activists of SiN conducted classes introducing the culture and language of neighbouring nations (the Czech Republic, Ukraine).

[1] In the spring of 1944, overwhelmed by the number of duties, he decided to quit his studies, which he claimed to have been disappointed with, so he preferred to devote his time to organizational activities.

Shortly before the outbreak of the Warsaw Uprising, he received a task to support the structures of the Home Army Information and Propaganda Bureau, so he took part in the Course for Military Press Reporters in the spring of 1944.

In his work, Jarosław Iwaszkiewicz referred to the circumstances of Gajcy's and Stroiński's deaths, writing in the poem Niepogrzebani [The Unburied]: "Two poets rose like flares into the air".

Paradoxically, this organisation, whose more than 700 members gave their lives in the fight against the Germans and the Soviets, was considered fascist by the literati serving the Stalinist authorities.