In the essay that follows, Bradbrook presents a comprehensive overview of Capek's short fiction, noting in particular the author's thoughts and motives regarding his stories.

In the following essay, Steiner provides the historical context for Čapek's Apocryphal Stories. The critic claims that, in addition to their philosophical and aesthetic value, the stories have political significance, asserting "The allegorical mode of writing permitted Čapek to close the gap between poetics and politics, to satisfy his artistic ambitions without giving up the civic responsibilities he felt so keenly."

In the following essay, Heé examines the techniques Čapek employed in his "pocket" stories to convey his philosophical ideas, discusses the success of these works as short stories, and considers their relation to the genre of detective fiction.

In the following essay, Harkins traces Čapek's philosophical development through three collections, Zářivé hlubiny, Boži muka, and Trapné providky, which he renders as Luminous Depths, Wayside Crosses, and Painful Tales, respectively.

In the essay below, Davydov measures the stories in Čapek's Tales from One Pocket against the traditional detective genre.

In the following excerpt, Elton provides a laudatory overview of öapek's short stories.

In the following essay, Harkins discusses Čapek's early convictions as they are exemplified through the stories collected in Krakonošova zahrada and Boži muka, here rendered as The Garden of Krakonoš and Wayside Crosses.

In the excerpt below, Gibian discusses similarities between the tales of Čapek's Apocryphal Stories, concluding "His apocrypha amuse, rather than disturb us. Even their iconoclasms and satire are mild, optimistic, gentle."

Here, Drew argues that Čapek's "pocket" stories should not be categorized as detective fiction because they focus on larger themes than crime and detection, mainly humanity, justice, and truth.

In the following review of Nine Fairy Tales and One More Thrown in for Good Measure, Warner notes the didactic nature of the stories and compares them to those of the Grimm brothers, concluding "the Grimm Brothers led quiet lives, but in their fairy-tales dealt more in fatalism; Čapek's revel in hope, against all the odds.

In the following review of Čapek's Apocryphal Stories, Hajek argues that the author's philosophy is easily recognizable in these stories.

Below, Iggers recognizes both humorous and serious elements in Čapek's Apocryphal Stories.