[1] Writing in The Kenyon Review, Alan Burns referred to the text as a "surrealist dream novel".

[2] At the beginning of his career, Chirico produced works in a style he developed with his fellow Italian painter Carlo Carrà.

[3] In the early 1920s, the French poet and writer André Breton (around whom the surrealist movement organized itself) noticed and became enthralled by a "metaphysical" painting of Chirico's at the gallery of Paul Guillaume.

[4] Due to admiration from Breton and other surrealists, Chirico became an accepted member of their social and artistic group in Paris.

[5] Despite Chirico's split with the group, critics generally refer to Hebdomeros as belonging to the body of surrealist writing.