By the time the 1918 armistice was signed, Ungaretti was again in Paris, working as a correspondent for Benito Mussolini's paper "Il Popolo d'Italia". He published a volume of French-language poetry, titled "La guerre" ("The War", 1919). In 1920, Giuseppe Ungaretti married the Frenchwoman Jeanne Dupoix, with whom he had a daughter, Ninon (born 1925), and a son, Antonietto (born 1930). During that period in Paris, Ungaretti came to affiliate with the anti-establishment and anti-art current known as Dadaism. He was present in the Paris-based Dadaist circle led by Romanian poet Tristan Tzara, being, alongside Alberto Savinio, Julius Evola, Gino Cantarelli, Aldo Fiozzi and Enrico Prampolini, one of the figures who established a transition from Italian Futurism to Dada. In May 1921, he was present at the Dadaist mock trial of reactionary author Maurice Barrès, during which the Dadaist movement began to separate itself into two competing parts, headed respectively by Tzara and André Breton. He was also affiliated with the literary circle formed around the journal "La Ronda". The year after his marriage, Ungaretti returned to Italy, settling in Rome as a Foreign Ministry employee. By then, Mussolini had organized the March on Rome, which confirmed his seizure of power. Ungaretti joined in the National Fascist Party, signing the pro-fascist "Manifesto of the Italian Writers" in 1925. In his essays of 1926–1929, republished in 1996, he repeatedly called on the "Duce" to direct cultural development in Italy and reorganize the Italian Academy on fascist lines. He argued: "The first task of the Academy will be to reestablish a certain connection between men of letters, between writers, teachers, publicists. This people hungers for poetry. If it had not been for the miracle of Blackshirts, we would never have leaped this far." In his private letters to a French critic, Ungaretti also claimed that fascist rule did not imply censorship. Mussolini, who did not give a favorable answer to Ungaretti's appeal, prefaced the 1923 edition of "Il porto sepolto", thus politicizing its message. In 1925, Ungaretti experienced a religious crisis, which, three years later, made him return to the Roman Catholic Church.