In his homeland, Kosovel entered the 20th-century Slovene literary canon as a poet who produced an impressive body of work of more than 1000 drafts, among them 500 complete poems, with a quality regarded as unusually high for his age.

[1] Srečko Kosovel was born as the youngest of five children to father Anton Kosovel, a Slovene teacher, who was not allowed to continue teaching in the Slovene language after the Austrian Littoral was annexed by Italy with the Treaty of Rapallo, 1920,[3] and mother Katarina (née Streš) who was 40 years old at the time of his birth and nurtured the artistic talents of their children.

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.

[10] 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.

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.

With this selection of poems, he intended to put an end to his early style, strongly influenced by the impressionist poetry of Josip Murn.

He however never managed to achieve this; his constructivist poetry would remain unknown to the public until as late as 1967, when Anton Ocvirk decided to release Kosovel's collection under the title Integrali '26.

This had an enormous impact on his life: he had very ambitious plans with the journal, intending to transform it into a nationwide left-wing publication that would attract all modernist and avant-gardiste artists from Slovene Lands and Yugoslavia, as well as serving as the platform for a radical Slovenian political agenda.

He has been often compared to other brilliant and tragic European authors from his same generation, such as the Hungarian Attila József, Italian Cesare Pavese, or Spanish Federico García Lorca.

Kosovel also left unfinished works in lyrical prose form, sketches, note, diaries and essays and criticisms concerning cultural problems.

Much of it was published in 2004, on the 100th anniversary of Kosovel's birth, in the monograph entitled Ikarjev sen ("Icarus'es Dream"), edited by the literary critics Aleš Berger and Ludwig Hartinger.