the new trend, disagreeing with its methods and, increasingly, with its politics. In 1923, he and a few other former Dadaists collaborated with Richter and the Constructivist artist El Lissitzky on the magazine G, and, the following year, he wrote pieces for the Yugoslav-Slovenian magazine Tank (edited by Ferdinand Delak). Transition to Surrealism Tzara continued to write, becoming more seriously interested in the theater. In 1924, he published and staged the play Handkerchief of Clouds, which was soon included in the repertoire of Serge Diaghilev's Ballets Russes. He also collected his earlier Dada texts as the Seven Dada Manifestos. Marxist thinker Henri Lefebvre reviewed them enthusiastically; he later became one of the author's friends. In Romania, Tzara's work was partly recuperated by Contimporanul, which notably staged public readings of his works during the international art exhibit it organized in 1924, and again during the "new art demonstration" of 1925. In parallel, the short-lived magazine Integral, where Ilarie Voronca and Ion Călugăru were the main animators, took significant interest in Tzara's work. In a 1927 interview with the publication, he voiced his opposition to the Surrealist group's adoption of communism, indicating that such politics could only result in a "new bourgeoisie" being created, and explaining that he had opted for a personal "permanent revolution", which would preserve "the holiness of the ego". In 1925, Tristan Tzara was in Stockholm, where he married Greta Knutson, with whom he had a son, Christophe (born 1927). A former student of painter André Lhote, she was known for her interest in phenomenology and abstract art. Around the same period, with funds from Knutson's inheritance, Tzara commissioned Austrian architect Adolf Loos, a former representative of the Vienna Secession whom he had met in Zürich, to build him a house in Paris. The rigidly functionalist Maison Tristan Tzara, built in Montmartre, was designed following Tzara's specific requirements and decorated with samples of African art. It was Loos' only major contribution in his Parisian years. In 1929, he reconciled with Breton, and sporadically attended the Surrealists' meetings in Paris. The same year, he issued the poetry book De nos oiseaux ("Of Our Birds"). This period saw the publication of The Approximate Man (1931), alongside the volumes L'Arbre des voyageurs ("The Travelers' Tree", 1930), Où boivent les loups ("Where Wolves Drink", 1932), L'Antitête ("The Antihead", 1933) and Grains et issues ("Seed and Bran", 1935). By then, it was also