She spent her youth advocating socialism, and rallied with left-wing politics for the remainder of her life, primarily as a representative of Poporanist circles and personal friend of culture critic Garabet Ibrăileanu.

[3] By virtue of birth, Izabela was related to several leading Moldavian intellectual and boyar families: her own branch, the Morțunești, was intermarried with the Racovițești, the Movilești and even the ancient House of Bogdan-Mușat.

[2] She would become a close friend and collaborator of Sofia, describing her as "beautiful [...], as simple as a child, as full of common sense as if a peasant woman healthy in body and spirit, passionate and excessive, as any real feminine character, in all her manifestations.

[8] The young woman attended the University of Bucharest Faculty of Philosophy, where she was colleagues with several male writers, including Ioan Alexandru Brătescu-Voinești and O. Carp (Gheorghe Proca).

Writing to Ibrăileanu in 1909, after having attended one of Lovinescu's earliest public lectures, Sadoveanu described the new arrival as "one great rotter" and "an ignorant", who spoke in a "banal and stupid", "superficial" way.

"[12] By 1906, Sadoveanu was also contributing to Revista Idealistă, the Neoclassical magazine of Mihail G. Holban, where she discussed "Romanticism in literature",[13] and the mainstream review Noua Revistă Română.

[16] As noted by Duma, Sadoveanu's pronouncements defended writers for their moral mission, even to the detriment of art, equally praising Sofia Nădejde and novelist Constantin Sandu-Aldea for their sense of "pity [...] for those less fortunate".

"[19] From his traditionalist standpoint, Bogdan-Duică argued that Sadoveanu erred in reaching beyond "impressions" to consider herself a professional critic, and to advocate the "primacy of the senses" in art: "Ms. Sadoveanu-Evan has a philosophy, even though she is a woman.

"[9] Reviewing the echoes of Sadoveanu's contributions in 2002, publisher and literary historian Cornelia Ștefănescu argued: "[she] sparked bitter polemics and denials more than appreciations, even though N. Iorga and G. Ibrăileanu, objectively or not, had a privileged view of her".

According to literary historian George Călinescu, the volume cemented her transition from socialism to Poporanism, illustrated by quotes such as: "We are Romanians, and our works of art and products of the mind must carry the seal of our nation's originality.

[23] Her primary interest was in showing how the anti-positivist poetry of Frenchman Arthur Rimbaud had created a fashion in Romania,[24] but she also discussed the roles that Jean Moréas and Anatole France had in making Symbolism known to a French and international public.

[14] Cornelia Ștefănescu finds her essays characterized by subtlety and the sense of detail, for instance in describing the Romantic critic Charles Augustin Sainte-Beuve, whose proverbial ugliness, Sadoveanu argued, indirectly shaped 19th-century French literature.

[25] She also became noted as a translator foreign-language works, primarily Italian, into her native Romanian;[2] in 1909, under contract with Minerva, she published a volume of novellas by Grazia Deledda[26] and Giovanni Verga's Royal Tiger.

"[29] In fact, Sprijinul grouped together political women (including its president, Smaranda "Ema" Beldiman) and male pro-feminists (the socialist lawyer Toma Dragu).

[30] With Mărgărita Miller Verghy, Bucura Dumbravă and other women writers, Sadoveanu was also a founding member of the Româncele Cercetașe Association, an early branch of Romanian Scouting, preceding the Asociația Ghidelor și Ghizilor din România.

[36] According to Baiulescu's summary, the Congress explicitly sought to reform the 1923 Constitution of Romania, which had only recognized universal male suffrage, and bring about gender equality as an "act of justice".

[34] The report also critically noted a decrease in standing for Romanian women in Transylvania, Bukovina and other regions, ever since Romania had replaced Austria-Hungary as the administrative power.

[34] Around that time, Sadoveanu also affiliated with Adela Xenopol's Societatea Scriitoarelor Române (Romanian Women Writers' Society), which stood against the dominant and supposedly sexist SSR; she also began contributing to its tribune, Revista Scriitoarei ("The Woman Writer's Review"), joining a writing staff which also included Sofia Nădejde, Miller Verghy, Constanța Hodoș, Ana Conta-Kernbach, Hortensia Papadat-Bengescu and Aida Vrioni.

This occurred after Cantacuzino's official visit to Italy, where she had attended an IAWSEC Congress, and where the initiative was taken to create a regional East-Central European feminist association, the "Little Entente" of Women.

[43] Her collaboration with the Vălenii de Munte institution continued and, together with Iorga and Constanța Evolceanu, she helped organize a preparatory School of National and Moral Female Missionaries (1927).

[48] Sadoveanu and Alexandrina Cantacuzino were reconciled by May 1933, when they were AECPFR delegates to Constanța city, paying homage to the Dobrujan wing of the women's emancipation movement.

[50] The latter also published her April 1928 interview with writer Sylvia Stevenson, on the state of English literature, discussing authors from Virginia Woolf to John Galsworthy (a preoccupation which resurfaced in Sadoveanu's articles as late as 1937).

[50] Among her other works of literary criticism which saw print with Adevărul Literar și Artistic was a 1930 study of Ibrăileanu's literature, in which she defended her mentor's writing style (proposing that it only seemed "rough" because it sought to be anti-rhetorical).

[4] The same paper also published her biographical sketches and recollections about two personal acquaintances from the socialist and Poporanist scene of the fin de siècle: Anton "Tony" Bacalbașa, "Gheorghe din Moldova" Kernbach.

[50] Izabela Sadoveanu's own pieces for Femeile între ele included an overview of the suffragette movement and a positive report about the Soroptimist International, whose self-help ideas she tried to popularize in Romania, and a sarcastic reply to Archip's strong-voiced antifeminist stance.

[50] Also in 1937, Adevărul published her homage to French socialist and pacifist Jean Jaurès, who had fallen victim to nationalists shortly after the outbreak of World War I.

[48] Twenty years later, critic Margareta Feraru revisited her entire work, republishing two volumes of her magazine essays, as Cărți și idei ("Books and Ideas").