Then she had been succeeding to establish herself as a fully-fledged writer with the publishing of her first collections of poems: Éclats in 1929, Générer, a poetic work about her motherhood experience,[13] in 1930 and Vol d'oiseaux in 1931.

[24][25] Some surrealists distributed a leaflet at the end of 1942–1943 wintertime in which they mocked her poetical works through her interest for circus arts and aimed to condemn who they considered as collaborationist artists.

[29][30] Despite the vigorous libel actions of those surrealists,[11][27] she was not banned as an undesirable writer by the Comité National des Ecrivains[note 6] after the Liberation and,[32] therefore, never prosecuted for collaborationism.

[37][38] At that time, Gérard de Nerval's sonnets The Chimeras and German poets of the romantic era belonged to her beloved literatures, which had played a part in the development of her works.

[4] Although never published in her lifetime, she also created a really fine translation of Nachtwachen von Bonaventura,[en 4] reflecting her interest in romanticism through a masterpiece of German literature.

[42] The year 1950 marked her author career when she was awarded the recipient of the Renée Vivien prize for her poetry collection Sept chants royaux.

In the aftermath of her husband's death, she cut off from the literary world of Paris and left her position as a member of the jury for the Guillaume Apollinaire prize.