Editing Tudor Arghezi (section)

===Interwar literature===
In 1927, he published his first volume of collected poems, titled ''Cuvinte Potrivite'' ("Fitting Words" or "Suitable Words"), which made the [[Poporanism|Poporanist]] paper ''Viața Românească'''s [[Mihai Ralea]] hail Arghezi as "our greatest poet since [[Mihai Eminescu|Eminescu]]"<ref>Ralea, ''T. Arghezi'', 1927, in ''Din presa... (1918–1944)'', p. 58</ref> (while likening his "mixture of the sublime and the awkward"<ref>Ralea, ''T. Arghezi'', 1927, in ''Din presa... (1918–1944)'', p. 46</ref> to "[[nihilism]]").<ref>Ralea, ''T. Arghezi'', 1927, in ''Din presa... (1918–1944)'', p. 48</ref> The [[avant-garde]] magazine ''Integral'' celebrated Arghezi with a special issue in 1925 – in it, [[Benjamin Fondane]] wrote: "Arghezi is against all things: in his poetry, against [[eloquence]], in favour of reinstating modesty, decency [...] [i]n his prose, against cowardice in expression, in favour of violence and indecency".<ref>Fondane, ''Omagiu lui Tudor Arghezi'', in ''Din presa... (1918–1944)'', 1927, p. 131</ref>

Arghezi was in charge of the [[Political satire|satirical]] newspaper ''[[Bilete de Papagal]]'' and published his first prose effort, ''Icoane de Lemn'' ("Wooden Icons"), in 1928. In 1932, he published ''Flori de Mucigai'' ("Flowers of Mildew") and ''Poarta Neagră'' ("The Black Gate") – collections of poetry inspired by the years he spent in detention (in itself, a theme never before used in Romanian poetry)<ref>Willhardt ''et al.'', p.16</ref> and influenced by the works of [[Charles Baudelaire]] and other Symbolists. He also began writing the works that made him most familiar to the public, his poems and short prose for children. Among the more famous are ''Cartea cu Jucării'' ("The Toy-Laden Book"), ''Cântec de Adormit Mitzura'' ("A Song to Get Mitzura to Sleep"), ''Buruieni'' ("Weeds") and, the most popular of all, ''Zdreanță'' ("Rag"), about a lovable [[Mixed-breed dog|mutt]].

In 1933–1934, he completed two satirical pieces, the [[dystopia]]n novel ''Tablete din Țara de Kuty, povestiri swiftiene'' ("Tablets from the Land of Kuty. [[Jonathan Swift|Swiftian]] Stories") and ''Cimitirul Buna-Vestire'' ("Buna-Vestire Cemetery" – a large-scale pamphlet described as an "apparent novel" by [[George Călinescu]]),<ref>Călinescu, p.324</ref> as well as a long novel on the topic of maternal love and filial devotion, ''Ochii Maicii Domnului'' ("Our Lord's Mother's Eyes").

He routinely visited art shows throughout the 1920s (accompanied by [[Vasile Demetrius|Vasile]] and [[Lucia Demetrius]]), helping to establish the artistic reputation of painters such as [[Oscar Han]], [[Nicolae Dărăscu]], [[Camil Ressu]], [[Francisc Șirato]], and [[Nicolae Vermont]].<ref name="Zalis, p.VII"/> He also authored the preface to [[Nicolae Tonitza]]'s first art catalog, and welcomed ''Arta Română'', the [[modernism]] group established by Tonitza and [[Gheorghe Petrașcu]] in 1920.<ref>Zambaccian, Chapter II, Chapter XII</ref> By the mid-1930s, Arghezi contributed the art chronicle to the newspaper ''Mișcarea'' – mouthpiece of the [[National Liberal Party-Brătianu]].<ref name="Simuț">Simuț</ref>