of the group's socialist sympathies, and was critiqued severely by Matica srpska. After several members left the group because of their disagreements with the declaration, the group published a new review titled Nadrealizam danas i ovde (Surrealism Here and Now) which would continue until June 1932. In late 1932, Matić published the book Položaj nadrealizma u društvenom procesu (The Position of Surrealism in the Social Process) in collaboration with Oskar Davičo and Đorđe Kostić. The book was openly critical of the limits of surrealism and caused a falling out between Ristić and Matić which would continue for several years. During this period, Matić married Lela Ristić, the daughter of his superior, the principal of the Fourth Belgrade Gymnasium Miodrag Ristić. Lela was 12 years his junior, and her father disapproved of Matić continuing to work at the school following their marriage. Socialist realism In 1932, Matić was under investigation over his ties to Davičo, who was sentenced to 5 years in prison by the National Court for the Defense of the State. In 1934, Matić held two lectures at the People's University of the Academicians' Club, "Psychoanalysis and Freudianism" and "Fascism and Culture". In April 1935, Matić resided in Kragujevac with a group of writers including Aleksandar Vučo, Velibor Gligorić and Radovan Zogović. There, he presented his essay "Contemporary Criticism and Svetozar Marković". That same year, Matić published the poem "Marija Ručara" in collaboration with Aleksandar Vučo, which was later banned. He translated Ivan Pavlov's book on conditional reflexes and co-signed a protest letter with Marko Ristić and Milan Dedinac against Crnjanski's Antologija Ideja (Anthology of Ideje), which they published in NIN. In April 1935, Matić transferred from the First Realschule to the Fourth Realschule. He was sent into early retirement on 9 May. In 1936, Matić and Vučo published an excerpt from the novel they were working on, at that time titled Beograd (Belgrade), in the first double issue of Naša stvarnost (Our Reality). Marko Ristić was highly critical of the publication. Matić's friend, the architect Milan Minić, also collaborated on the magazine, designing the visual elements. In sharp contrast to the sentiments of most of his surrealist collaborators, Matić also invited Desanka Maksimović to work on the magazine. Despite Ristić's objections, Koča Popović would collaborate with Matić and Vučo on the next double issue. In the 9-10 double issue of Naša stvarnost in 1937, dedicated to the defense