Michel Sanouillet's Dada in Paris, published in France in 1965, reintroduced the Dada movement to a public that had largely ignored or forgotten it.Over forty years later, it remains both the unavoidable starting point and theessential reference for anyone interested in Dada or the avant-garde. This firstEnglish-language edition of Sanouillet's definitive work (a translation of theexpanded 2005 French edition) gives English-speaking readers their first directaccess to the author's monumental history (based on years of research, includingpersonal involvement with most of the Dadaists still living at the time) and massivecompilation of previously unpublished correspondence, including more than 200letters to and from such movement luminaries as Tristan Tzara, Andr? Breton, andFrancis Picabia. In the years after Dada's relatively brief Paris flowering in the1920s, its members were often depicted as opportunistic youths, hedonistic jokersengrossed in a monstrous solipsism. Sanouillet was the first to see them instead asthe most gifted and sensitive representatives of a generation, intent on finding anew way of living, writing, and feeling. Dada in Paris offers a behind-the-scenesaccount of the French avant-garde's riotous adolescence, with the timeline thatbegins with Tzara and Picabia stretching to include Breton, Philippe Soupault, LouisAragon, and Paul ?luard. Sanouillet describes the pre-Dada Parisian milieu, theconnection made with Zurich Dada, and Parisian Dada projects and their reception.Finally, by 1923, Dada-according-to-Tzara gave way toDada-according-to-Breton--which a few months later, under tumultuous circumstances, took on the new name of Surrealism. The longer-lasting, more conservative Surrealismwould overshadow Dada for decades to come.