K. Neumann). The avantgarde soon split, however, into the radical proletarian socialist and communist authors (Wolker, Neumann, Karel Teige, Antonín Matěj Píša, Hora, Jindřich Hořejší), the Catholics (Durych, Deml), and to the centrists (brothers Čapek, Dyk, Fischer, Šrámek, Langer, Jan Herben). A specifically Czech literary style, poetism, was developed by the group Devětsil (Vítězslav Nezval, Jaroslav Seifert, Konstantin Biebl, Karel Teige), which argued that poetry should pervade everyday life, that poetry is inseparable from daily life, that everyone is a poet. Prose of the interwar period distanced itself even more from the traditional, single perspective prose of the previous century, in favor of multiple perspectives, subjectivity, and fractured narratives. Utopian and fantastic literature came into the forefront (Jan Weiss, Karel Čapek, Eduard Bass, Jiří Haussmann), as well as the genres of documentary prose, which sought to paint as accurate a picture of the world as possible (Karel Čapek, Egon Erwin Kisch, Jiří Weil, Rudolf Těsnohlídek, Eduard Bass, Jaromír John, Karel Poláček); lyrical, imaginative prose that allied itself with the poetic poetry of the time (Karel Konrád, Jaroslav Jan Paulík, Vladislav Vančura); and Catholically-oriented prose (Jaroslav Durych, Jan Čep, Jakub Deml). The drama of the time also followed the same stylistic evolution as poetry and prose — expressionism, followed by a return to realistic, civilian theater (František Langer, Karel Čapek). Along with avantgarde poetry, avantgarde theater also flourished, focusing on removing the barriers between actors and audience, breaking the illusion of the unity of a theatrical work (Osvobozené divadlo, Jiří Voskovec and Jan Werich). After the heady optimism of the 1920s, the 1930s brought with them an economic crisis, which helped spur a political crisis: both the left (Communist) and right (anti-German and fascist) parties radicalized and threatened the stability of the democracy. This led the authors of the time to focus on public matters and spirituality; Catholicism gained in importance (Kalista, Karel Schulz, Halas, Vančura, Durych). Changes were apparent first in poetry: the new generation of poets (Bohuslav Reynek, Vilém Závada, František Halas, Vladimír Holan, Jan Zahradníček) began as poets, but their work is much darker, full of images of death and fear. The older avantgarde (Teige, Nezval) also turned away from poetism to surrealism, and a third group (Hora, Seifert, František Hrubín) turned instead to lyricism, to quiet, memory-filled poetry. Prose, after the years of realistic journalism, turned to epics, existential novels, and subjective perspectives. Folk-inspired ballads (Josef Čapek,