This article examines the role of the so-called Novo Mesto Spring movement, particularly the role of the poet Anton Podbevšek, on the dynamics of Slovenian avant-garde art in the first decade after ...the World War I. It outlines Podbevšek's controversial rise to celebrity status soon after his arrival in Ljubljana in 1920, his extraordinary influence on contemporary young poets, reflected in the literary contributions to the first issue of the magazine Trije labodje (The Three Swans, 1922), and, finally, analyzes Podbevšek's irrevocable decline after 1925. Podbevšek's (self)destructive behavior in this period proves to be among the important reasons why the attempt to consolidate Slovenian historical avant-garde art, which might have taken place around The Three Swans, failed.
Mala Stankica uživa v pomladi in se čudi svetu okoli sebe. V ozadju je stara lesena hiša, ki je bila nekdaj zidanica. Tu sta si dom uredila moja stara starša Genovefa (Efka), roj. Ocepek, in Mihael ...Sevčnikar. Med vojno je stari ata padel v partizanih, stara mama (mami) je nato sama preživljala pet otrok. Čez leta sta si njuna najmlajša hči, Silva, z možem Stanetom Beričnikom, moja mamči in ati, tukaj zgradila svoj dom. Na fotografiji se že vidi prvi dozidani del hiše. Kot je bilo v navadi, se je pred hišo sušilo perilo, ki sta ga mami in mamči prali v bližnjem potoku in po potrebi pred tem še “skuhali” na štedilniku.Svet, v katerega je Stankica pravkar napravila prve korake v življenju, se ji je predstavil v vsej svoji čudežnosti z vonjavami svežih pomladnih trat in cvetlic.Prispevala: Stanka Ledinek
