man who lets intuition and spontaneity guide him through life, and who rejects measure. One of the appeals in the text reads: The next stage in Tzara's career saw a merger of his literary and political views. His poems of the period blend a humanist vision with communist theses. The 1935 Grains et issues, described by Beitchman as "fascinating", was a prose poem of social criticism connected with The Approximate Man, expanding on the vision of a possible society, in which haste has been abandoned in favor of oblivion. The world imagined by Tzara abandons symbols of the past, from literature to public transportation and currency, while, like psychologists Sigmund Freud and Wilhelm Reich, the poet depicts violence as a natural means of human expression. People of the future live in a state which combines waking life and the realm of dreams, and life itself turns into revery. Grains et issues was accompanied by Personage d'insomnie ("Personage of Insomnia"), which went unpublished. Cardinal notes: "In retrospect, harmony and contact had been Tzara's goals all along." The post-World War II volumes in the series focus on political subjects related to the conflict. In his last writings, Tzara toned down experimentation, exercising more control over the lyrical aspects. He was by then undertaking a hermeutic research into the work of Goliards and François Villon, whom he deeply admired. Legacy Influence Beside the many authors who were attracted into Dada through his promotional activities, Tzara was able to influence successive generations of writers. This was the case in his homeland during 1928, when the first avant-garde manifesto issued by unu magazine, written by Sașa Pană and Moldov, cited as its mentors Tzara, writers Breton, Ribemont-Dessaignes, Vinea, Filippo Tommaso Marinetti, and Tudor Arghezi, as well as artists Constantin Brâncuși and Theo van Doesburg. One of the Romanian writers to claim inspiration from Tzara was Jacques G. Costin, who nevertheless offered an equally good reception to both Dadaism and Futurism, while Ilarie Voronca's Zodiac cycle, first published in France, is traditionally seen as indebted to The Approximate Man. The Kabbalist and Surrealist author Marcel Avramescu, who wrote during the 1930s, also appears to have been directly inspired by Tzara's views on art. Other authors from that generation to have been inspired by Tzara were Polish Futurist writer Bruno Jasieński, Japanese poet and Zen thinker Takahashi Shinkichi, and Chilean poet and Dadaist sympathizer Vicente Huidobro, who