Leopold Kosch. As Paul Daniel notes, the polemics surrounding Priveliști only lasted for a year, and Fondane was largely forgotten by the Romanian public after this moment. However, the discovery of Fondane's avant-garde stance by traditionalist circles took the form of bemusement or indignation, which lasted into the next decades. The conservative critic Const. I. Emilian, whose 1931 study discussed modernism as a psychiatric condition, mentioned Fondane as one of the leading "extremists", and deplored his abandonment of traditionalist subjects. Some nine years later, the antisemitic far right newspaper Sfarmă-Piatră, through the voice of Ovidiu Papadima, accused Fondane and "the Jews" of having purposefully maintained "the illusion of a literary movement" under Lovinescu's leadership. Nevertheless, before that date, Lovinescu himself had come to criticize his former pupil (a disagreement which echoed his larger conflict with the unu group). Also in the 1930s, Fondane's work received coverage in the articles of two other maverick modernists: Perpessicius, who viewed it with noted sympathy, and Lucian Boz, who found his new poems touched by "prolixity". Rimbaud le voyou, Ulysse and intellectual prominence Back in France, where he had become Shestov's assistant, Fondane was beginning work on other books: the essay on 19th-century poet Arthur Rimbaud—Rimbaud le voyou ("Rimbaud the Hoodlum")—and, despite an earlier pledge not to return to poetry, a new series of poems. His eponymously titled study-portrait of German philosopher Martin Heidegger was published by Cahiers du Sud in 1932. Despite his earlier rejection of commercial films, Fondane eventually became an employee of Paramount Pictures, probably spurred on by his need to finance a personal project (reputedly, he was accepted there with a second application, his first one having been rejected in 1929). He worked first as an assistant director, before turning to screenwriting. Preserving his interest in Romanian developments, he visited the Paris set of Televiziune, a Romanian cinema production for which he shared directorial credits. His growing interest in Voronca's own poetry led him to review it for Tudor Arghezi's Bucharest periodical, Bilete de Papagal, where he stated: "Mr. Ilarie Voronca is at the top of his form. I'm gladly placing my stakes on him." In 1931, the poet married Geneviève Tissier, a trained jurist and lapsed Catholic. Their home on Rue Rollin subsequently became a venue for literary sessions, mostly grouping the Cahiers du Sud contributors. The aspiring author Paul Daniel, who became Rodica Wechsler's husband in 1935, attended