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''Universal War'' (ВсеЛенская Война Ъ) is an artist's book by Aleksei Kruchenykh〔also known as Aleksey Kruchonykh〕 published in Petrograd at the beginning of 1916. Despite being produced in an edition of 100 of which only 12 are known to survive,〔(MOMA online; Universal War )〕 the book has become one of the most famous examples of Russian Futurist book production, and is considered a seminal example of avant-garde art from the beginning of the twentieth century.〔(The Letter as such: Aleksei Kruchenykh as closet typographer, Ash )〕 Published at the height of Russian involvement in World War I (see Gorlice-Tarnów Offensive), the book attempts to echo the chaos and destruction of the war with the chaos and disruption of collage techniques new to the Russian Avant-Garde at the time, and opens with the bleak prophecy "Universal War will take place in 1985". Shortly after the book was published, Kruchenykh left Petrograd to live in a hut in the Caucausus to avoid the draft.
The book is an early attempt to link zaum poetry (often translated as 'transrational' or 'beyonsense' poetry) with 'zaum' images. In the foreword, Kruchenykh refers to the book as 'Poetic zaum shaking the hand of the pictorial zaum'.〔Quoted in Exploring Colour; Olga Rozanova and the early Russian Avant-Garde 1910-1918, Gunanova, p99〕 ''Universal War'' is often erroneously credited as a collaboration between Kruchenykh and his wife, the artist Olga Rozanova. Whilst the pair often collaborated on artist's books-including ''A Game In Hell'' (1914) and ''Transrational Boog'' (1915)- most authorities now consider the work to be by Kruchenykh alone.〔see "In Universal War there is little true creativity because it is the first experiment in (what was for me) a new style." Kruchenykh quoted in 'Exploring Colour: Olga Rozanova and the early Russian Avant-Garde, Nina Gunanova, G+B Arts International, 2000 p 100〕〔(MOMA online; Universal War )〕〔The Russian Avant-Garde Book, Rowell & Wye, MOMA, 2002〕 A series of similar collages - also credited to Kruchenykh - in the book ''1918'' was published in Tiflis (Tbilisi) in January or February 1917,〔(Zaum, The Transrational Poetry of Russian Futurism, Janecek )〕 whilst Rozanova was still in Moscow and the Verbovka Village Folk Centre working for Malevich and, later, Izo Narkompros.〔I can't find any reference to Rozanova joining Kruchenykh in the Caucausus or Tiflis; if anyone can provide proof either way, please do〕 ==The emergence of Russian futurist books== Kruchenykh had been a member of the Gileia group in Moscow that had published ''A Slap In the Face of Public Taste'',〔http://www.391.org/manifestos/futurists_slapintheface.htm ''A Slap In The Face of Public Taste'', 1912, Burliuk, Kruchenykh, Mayakovsky, Khlevnikov, taken from the book of the same name〕 a manifesto/provocation, an early Succès de scandale that helped to establish Futurism in Russia. He left Gileia in 1912 to join the rival Donkey's Tail group. Each of the members would collaborate with Kruchenykh on his next three artist's books; ''A Game In Hell'', ''Worldbackwards'' and ''Old-Time Love''. These three publications set the tone for a radical deconstruction of the book format:
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