His first literary attempts were poems, Les Joues en feu (1920; "The Burning Cheeks"); a short two-act play with music by
Georges Auric, Les Pelicans (1921); and articles in avant-garde reviews.
Given the centralized perspective, the large scale, and the plain yellow floorboards that fill the foreground, the work resembles the backdrop for some lost comedy of manners, or a ballet with music by
Georges Auric or Germaine Tailleferre.
6) beyond Claude Debussy, but this volume asserts who those figures are by drawing out the leading and changing trends in French interwar music, particularly asserting the force of Ravel's musical leadership (chapters 2 and 3), that of Charles Koechlin and Olivier Messiaen (chapter 3), and that of Francis Poulenc and
Georges Auric (chapter 6).
Despite the Hollywood-centric perspective of this section, the reader inevitably has to wonder about those names that are so frequently repeated in the quoted passages, but that otherwise hold no place in Wierzbicki's narrative: such as
Georges Auric, Arthur Honegger, Sergei Prokofiev, and Dmitri Shostakovich.