Although the obscenity trial was ostensibly about "Ulysses", Irene Gammel argues that "The Little Review" came under attack for its overall subversive tone and, in particular, its publication of the sexually explicit writings of the Baroness Elsa von Freytag-Loringhoven. Heap championed the Baroness's Dada poetry, printing it alongside the serialization of Ulysses from 1918-1921 and making Freytag-Loringhoven the journal's most frequently printed poet. Heap and the Baroness shared a confrontational feminist agenda. Gammel writes, “If Heap was the field marshall for "The Little Review"s vanguard battle against puritan conventions and traditional sexual aesthetics, then the Baroness was to become its fighting machine”. Following the obscenity trial, Anderson and Heap were forced to restrict the magazine's content to less inflammatory material, and they no longer printed their motto, “Making No Compromise with the Public Taste”.