Between 1901 and 1917, various Parisian magazines published music critiques and interviews with Debussy, which he attributed to his alter ego, Monsieur Croche. In 1921, he released them under the title Monsieur Croche antidilettante. They provide a vivid insight into Debussy's artistic perspective and the French music culture at the beginning of the last century. Debussy's uncompromising directness, along with his stylistically confident and light tone, clearly expresses his position, driven by national consciousness, against Gluck and in favor of Rameau, against Wagner and the structurally burdened German music, as well as the "gigantic factory hall" of Italian verismo. Debussy's plea against any form of academicism was in favor of the freedom of musical invention, composition, and form.