[5] Adamovich's debut short story "Merry Horses" (Весёлые кони) was published in 1915 in the journal Voice of Life, edited by Dmitry Filosofov and Zinaida Gippius.

Adamovich often met Akhmatova at the Saint Petersburg nightclub "The Stray Dog" (Бродячая Собака), a place where artists and writers would gather to discuss art and literature, socialize, or listen to the recitation of new poems by Akhmatova and other poets including Konstantin Balmont, Sergei Yesenin, and Igor Severyanin.

In 1921-22 he attended the literary gatherings and poetry meetings held at The House of Art (Дом искусств), formerly the mansion of a wealthy Saint Petersburg merchant.

[7] Here he soon made a name for himself as a literary critic and essayist, working for Zveno (The Link) magazine and Poslednye Novosty (The Latest News).

[8] In the thirties Adamovich was widely regarded as 'the leading Russian literary critic abroad', working for such magazines as Tchisla (Numbers) and Vstrechi (Meetings), of which he was the editor for a time.

Later its title was used by the poet and literary scholar Yuri Ivask who in 1953 compiled and edited an anthology of Russian emigrant poetry (in which Adamovich was well represented).

Adamovich contributed to several pro-Soviet western papers and published a book entitled The Other Motherland (Другая родина, 1947).

[7] Adamovich continued to translate French literature into Russian including the works of Jean Cocteau, Saint-John Perse and Albert Camus (The Stranger).

He disliked Afanasy Fet and Anton Chekhov (especially his plays), whose portrayals of the dullness and mediocrity of everyday life obscured, in Adamovich's opinion, the questions of eternal significance.

[5] Adamovich saw Fyodor Dostoyevsky as a dangerous metaphysical writer, and disapproved of Marina Tsvetaeva's "loudness" and her experimentation in rhythm, meter, and rhyme.