, The following articles suggest new insights into this important moment in the dialogue between America and Europe. A bibliography of primary and secondary sources rounds out this cluster of essays

M. Bewley, On the American Macabre, pp.7-8, 1945.

A. Breton, Manifeste du surréalisme, Manifestes du surréalisme. Paris: Gallimard, 1924.

, Limites non-frontières du surréalisme, Nouvelle Revue Française, issue.1, p.48, 1936.

, Drawbridges' [1962], preface to Pierre Mabille, Mirror of the Marvelous: The Classic Surrealist Work on Myth, Trans. Jody Gladding, 1940.

P. Brooker, Cross-currents: America and Europe, The Oxford Critical and Cultural History
DOI : 10.1093/acprof:osobl/9780199545810.003.0036

M. Magazines and I. Volume, North America 1894-1960, pp.630-665, 2012.

R. M. Coates, The Eater of Darkness, 1926.

G. Durozoi, Histoire du mouvement surréaliste, 2004.

S. Dimakopoulou, Europe in America: Remapping Broken Cultural Lines: View, 1940.

, In The Oxford Critical and Cultural History of Modernist Magazines, Volume II: North America 1894-1960, pp.737-758, 1942.

J. P. Eburne, Anti-Menckenism: Nathanael West, Robert M. Coates, and the Provisional Avant-Garde, MFS Modern Fiction Studies, vol.56, issue.3, pp.518-543, 2010.
DOI : 10.1353/mfs.2010.0023

I. Fort and . Susan, American Social Surrealism, Archives of American Art Journal, vol.22, issue.3, pp.8-20, 1982.
DOI : 10.1086/aaa.22.3.1557395

G. M. Gano, Nationalist Ideologies and New Deal Regionalism in <i>The Day of the Locust</i>, MFS Modern Fiction Studies, vol.55, issue.1, pp.42-67, 2009.
DOI : 10.1353/mfs.0.1590

T. Garrison, Plaza of the Psychopathic Angels, p.4, 1941.

B. Gysin, That Secret Look, pp.7-8, 1941.

H. Kirsten, Joseph Cornell's First Soap Bubble Set, American Art, vol.201, pp.14-35, 2006.

J. Levy, Surrealism, 1936.

S. Lévy, Sympatheric Order A Transatlantic Avant- Garde, American Artists in Paris, pp.15-21, 1918.

C. Mansanti, La revue transition (1927-1938) : le modernisme historique en devenir, 2009.
DOI : 10.4000/books.pur.32713

W. Paalen, Preface. DYN. Amerindian Number, vol.4, issue.5, 1943.

, Book Reviews: Exil. Fata Morgana. VVV, 81. Americanizing Surrealism: Cultural Challenges in the Magnetic Fields Miranda, 1943.

M. Perloff, Late Late Modern, William Carlos Williams Review, vol.22, issue.1, 1996.

. Accessed-through,

A. Reynes-delobel, Scénographies de la relation forte : de quelques objets surréalistes sous cloche " in Fictions modernistes du masculin/féminin 1900-1940

, Rennes: Presses universitaires de Rennes, pp.227-276, 2016.

E. Roditi, California Chronicle, p.4, 1940.

J. A. Suárez, View (1940-47), the Avant-Garde, and the Uncertain Life of Objects: Criticism as if Fragments Mattered Online, Miscelánea: A Journal of English and American Studies, vol.18, 1997.

D. Tashjian, A Boatload of Madmen, Surrealism and the American Avant-Garde 1920-1950, 1995.

P. Tyler, Americana Fantastica, p.5, 1943.

J. Veitch, American Superrealism, Nathanael West and the Politics of Representation in the, 1930.

. Madison, , 1997.

M. Weaver, William Carlos Williams: The American Background, 1971.

N. West, The Dream Life of Basno Snell, Contact Editions, 1931.

, Miss Lonelyhearts, 1933.

, The Day of the Locust, 1939.

W. Williams and . Carlos, A Novelette, pp.272-306, 1932.

, Sordid? Good God, p.5, 1933.

, Surrealism and the Moment, View, vol.2, issue.2, p.13, 1942.

I. , W. Andrews, L. Aragon, A. Everett-austin, A. H. Barr et al.,

L. Guglielmi, J. Guy, B. Gysin, L. Hoffman, E. Jolas et al., American national cultural identity, American surrealism, avant-garde, fantastic, grotesque, interwar United States, literary and visual modernism, little magazines, localism, macabre, magic, modernity, monstrous, popular culture, social criticism, super-realism, technologies, transatlantic exchanges, AUTHORS ANNE REYNES-DELOBEL Maître de conférences

. Aix-marseille-université-anne, fr CÉLINE MANSANTI Maître de conférences Université de Picardie Jules Verne cmansanti@gmail.com Americanizing Surrealism: Cultural Challenges in the Magnetic Fields Miranda, 2017.