Fellow cadets included Roger Vitrac and René Crevel, who he got to know along with other writers attached, like Limbour, to the Tour-Maubourg barracks.
He visited Masson's study at 45 rue Blomet often, where he met other artists and writers including Juan Miro, Antonin Artaud, and Michel Leiris.
Later, he assisted with Georges Bataille's journal Documents (1929–30), and, with a number of other dissident ex-surrealists, contributed to the anti-Breton pamphlet Un Cadavre.
On 14 July, from the steps of the Mainz Opera House, he shouted 'down with France', and encouraged the local German population to throw out the French army.
[2] Limbour wrote a number of short stories (collected after his death in two volumes), four novels, a play (first staged in 1954), three opera librettos (only one of which was performed), and poetry.
[2] The early stories show the influence of surrealism and 'automatic writing' methods but in the later work, including the novels, Limbour developed a magical and distinctive style.
Some of the short stories have been translated, these include: 'The Polar Child' (1922),[3] 'The Lancashire Actor' (1923),[4] 'Glass Eyes' (1924), and 'The Panorama' (1935),[5] 'The Hand of Fatima' (1929),[6] 'The White Dog' (1953),[7] and three 'African Tales' (1968).