and Italian annexation of Slovene territories, including his native Karst region, Kosovel felt robbed of his beloved landscape because this and all Slovene schools and organizations were forbidden by the Fascist regime. Slovene intellectuals were subjected to reprisals, and this has been called one of the tragedies of his short life, evoking in him grief, anger, displacement, and disorientation. This was especially because his new homeland, the Kingdom of Yugoslavia, also showed no interest in the suffering of the Slovene minority under the Fascist regime in Italy. Even in his negotiations with Italy in 1923, when Benito Mussolini wanted to modify the Rapallo borders in order for Italy to annex the still-independent state of Rijeka, King Alexander preferred "good relations" with Italy over the proposals for border corrections at Postojna and Idrija proposed by SHS Prime Minister Nikola Pašić. This led to Kosovel's political and artistic radicalization. He had contacts with the radical political and insurgent anti-Fascist organization TIGR. In 1926, he visited the Yugoslav town of Zagorje to perform one of his recitals, and while waiting for the train to return to Ljubljana caught a cold, which eventually developed into meningitis. He returned to his home village of Tomaj, where he died on 26 May 1926. Work His early works were mainly about his feelings of longing for his family and native Karst landscape. Kosovel met his peers, Slovenes that have left Italy-annexed ethnic Slovene areas, at the University of Ljubljana and they established literary magazine called Lepa Vida ("The Fair Vida", a motive from Slovene folk poetry), where Kosovel served as the magazine's editor. Kosovel became acquainted with more radical ideas at the "Ivan Cankar Club", named after the Slovenian radical author, and increasingly became attracted by the revolutionary ideas and the avant-garde Soviet and German works that Ivo Grahor introduced him to. The constructivist turn In 1925, together with a constructivist artist Avgust Černigoj, Kosovel was considering establishing a new magazine Konstruktor ("Constructor") and started writing his constructivist poems, called konsi (kons in singular), short for konstrukcije ("constructions"). With the constructivism he turned away from a silent lyric to a loud, presumptuous, offensive poetry full of linguistic innovations: language free of syntax and logical ordering, freedom of imagery, use of typography, styles and colors, mathematical symbols, equations, paper collages, and all other sorts of experimental writing. At about the same time, Kosovel prepared to publish a collection