Paris Dada stands apart from the other Dada-doms treated in this series because of the sometimes complicated interaction between the French writers and artists associated with the movement and the band of avant-garde foreigners who flocked to Paris at the end of World War I. These foreigners - Tzara, Picabia, Man Ray, Iliazd, among others - were largely uninfluenced by the French tradition of mainly civil art and a call to return to order after the war. In this volume, editor Elmer Peterson has brought together essays that clearly show the interaction between the newcomers and the Parisian Dadaists that shaped this time in the history of the radical art movement.