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At that stage, the Jewish writer was encountering resistance from the antisemitic literary movement in Moldavia. Trestianu, he published his poems in the magazine Arhiva, Organul Societății Științifice și Literare.That collaboration ended abruptly, when Gheorghe Ghibănescu, the editor in chief, discovered that Trestianu was a Jew, and ordered his staff to destroy the physical evidence of Rodion's correspondence.In June 1915, Avram Steuerman was assigned a regular column in Seara, a Bucharest newspaper founded by Germanophile agitator Alexandru Bogdan-Pitești and purchased from him by a German cartel.The Seara pieces, which he signed as Rodion and collectively titled Scrisori din Iași ("Letters from Iași"), sought to depict the Moldavian state of affairs in lively colors, with noted stress on the spread of Germanophile sentiment.Stroja-Flișki and Ioan Dafin on the literary magazine Cărticica Săptămânei.Normally, this departure would have brought a hiatus in his journalistic activity.In 1910, he published a comparative study of Heine and Édouard Grenier; a year later, the volume Complicele lui Heine ("Heine's Accomplice").His work established Rodion's reputation outside Moldavia: in Transylvania, critic Ilarie Chendi noted that, with Dumitru Karnabatt and some others, the "fecund" Steuerman was still maintaining alive the tradition of cultural journalism.
Rodion contributed to Zosin's press organ, Îndrumarea, which advanced election reform and complete Jewish emancipation.
Rodion also became a literary chronicler at Ordinea ("The Order"), published by the Conservative-Democratic Party, and held a similar position at Alexandru Bădărău's Opinia ("The Opinion").
The latter employed him as its main editor for several years on end: Steuerman wrote three simultaneous columns in Opinia, He was perpetually interested in new social and cultural developments, and enthusiastic about the birth of cinema, writing in Opinia about the coming demise of demise, and probably authoring the advertorials about "moving-picture soirées" in Iași.
During the first stage of World War I, when the Kingdom of Romania maintained its neutrality, Rodion grew close to the political circles comprising Germanophiles, neutralist socialists or pacifists.
Like his colleagues there, Rodion was not a keen supporter of making Romania part of the Entente camp; he looked with more sympathy toward the German Empire and the Central Powers.