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KOSOVEL’s poeticsexperimenting with form, merely changing literature and art, and not life asa whole. For this reason he had ultimately to turn towards those orientationswhich, alongside the revolutionised form, also took account of the man ofthe coming “constructive age”, and which, therefore, alongside a revolutionof form, also observed a “revolutionary substance”. Among the movementsof the 1920’s, Russian constructivism came closest, perfectly linking moderntechnology and the new man, Kosovel’s man of the future constructiveage, which was decisive in his turn towards the then political left inSlovenia, and was closely connected to his writing of the cons poems.A comparison between the idealising and fetishising of machines andmodern technology in Italian futurism – which also attempted to mechaniseman, and to the extent that it would be possible at any time to substituteor replace him with another mechanical man or a mechanical part of him –and the symbol of Russian constructivism, Tatlin’s monument to the ThirdInternational, speaks volumes. This idea was never realised, unfortunately,for at that time the tallest building in the world would have been entirelydevoted to man, since through the built-in geometric frames of the cone,pyramid and cylinder, revolving around their own axis and containing aradio station, the biggest library in the world and a clock, its density ofinformation would ensure that the new, “coming” man would be superlativelyinformed. Contrary to the futurist Marinetti, Tatlin was not interestedin the mere idolatry of mechanical technology, where a racing car couldbe more beautiful than Nike of Samothrace (for Kosovel, the automobilewas “a device that sprays mud”), but in a process beginning with man andhis spiritual transformation, which would in turn be followed by a changein economic relations. Kosovel was working on the same wavelength. Tohis essay, preserved in manuscripts under the title The Collapse of Societyand Art (Propad družbe in umetnosti ; see 3/1, 807), Kosovel added in parenthesesand in pencil a subtitle: “The New White Society of the Future”,at which in his opinion it would be possible to arrive only via “white barricades”,in other words, by a bloodless, spiritual revolution.We are trying to establish to what extent Kosovel was acquainted with thefundamental principles of Russian literary constructivism, which functionedas the Literary Centre of Constructivists (LCC), to whom he could have beenintroduced by his friend Ivo Grahor, who illegally emigrated to the SovietUnion in the middle of 1924 and returned home in the winter of 1925.The LCC was characterised by its attempt to synthesise numerousEuropean ‘–isms’. In Grübel’s opinion, this indicates the “synthetic” momentof the constructivist literary movement, an “attempt at merging allknown procedures into a common poetic inventory” (ibid.).Familiarity with the principles of the LCC finally enabled Kosovel tomodify his cons poems for the needs of Slovene literary circles, in whichthere was still a need to accommodate the specific position of language,and thus the poetic idiom. Indeed, in recent Slovene history, literature hada nation-building function, something that also applied to certain other nationsin the Austro-Hungarian Empire. The British historian A. J. P. Taylorestablished for them the notion that they were simply the brainchildren of180