Philippe Soupault’s novel, The Last Nights of Paris (1928) and Aragon’s Paris Peasant (1928) are on the surface extremely different types of writing; one of them is written in an extremely cinematic way to resemble genre fiction (Soupault) and the other reads like a kind of oneiric travel guide to the city. Both texts, however, are generally grouped as part of the same literary and artistic movement: surrealism. To what extent, if any, do these texts seem to merit inclusion in the same literary movement.
