Futuro-gamy i futuro-pejzaże (Futurist Rhythms and Futurist Landscapes) [Poetry collection; Polish Futurism]

Near fine condition; cover shows slight soiling, slightly frayed fore-edge of front cover, professionally restored upper outer corner of front (small missing piece filled using leafcaster machine); internally few occasional foxing spots and fingerprints.

According to author's foreword, his present (the fourth) volume consists of three parts. The first and the second parts contain poems written under the "storm and pressure" of Polish Futurism from 1918 to 1922, many of which were published before in various periodicals ("Formisci", "Jednodniówka futurystycana", "Nué w biuhu", "Zwrotnica", "Reflektor"), but were not included in earlier poetic collections. The third part comprases latest works covering the period 1932-1933. Author underlines his partial distancing from the futurism in the latest verses, providing an opportunity through the cover and title page design for double-interpretation of the collection title – with the prefix "futuro" or without. Reason of usage the term "Rhythms" in the title explained so that the poems reveal the true meaning only when reading aloud, which emphasizes their particular rhythmicity, while "Landscapes" associated with the closeness to nature.

But, actually, included poems show the superior categories of futurism, such as experimental typography, topicality (modern civilization, technology, city, etc.), everydayness and reality, which are enriched through themes and motifs drawn from the

Polish folklore. The artistic language of the author distinguished itself from the background of the Polish avant-garde output due to his use of sound effects revealing inspiration by rhythmicity of a folk song and dance. Other examples of used elements of folklore are quotations or allusions to songs and proverbs. "Na weselu" ( Wedding), for instance, follows the rhythm of the traditional wedding songs and dances, while the wistful tones of the shepherd's pipe are heard in "Pasterka" (Shepherd). The song-like trythm of these poems is achieved by means of refrains, rhythmical particles and interjections, and numerous repetitions.

Book's striking avant-garde cover created by unattributed artist, presumably author's wife Wanda Mlodozeniec, who contributed to poet's earlier publications.

Stanisław Młodożeniec (1895 – 1959) was one of the leading representatives of the avant-garde in Polish poetry of the 20th century, founder of Polish futurism. Along with Tytus Czyżewski and Bruno Jasieński he established the futurist club Katarynka, under which on artistic evening events organised in Cracow they promoted a new aesthetic direction in Polish poetry. Jointly they also published two manifestos of futurism. Młodożeniec published five collections of poems, also some works of prose.