Soffici, Ardengo - Simultaneity and lyrical Chirisms Florence, Edizioni della Voce (A. Vallecchi), 1915. In folio, 455 x 335 mm. white paperback with the author's free word composition on the plates, printed in color with hand watercolored retouches, copy no. XII / 300, with a dedication by Soffici in the eye: "To dear friend and excellent artist Giannotto Bastianelli Ricordo di A. Soffici Firenze , January 13, 1915 ", reinforcement on the outer edge of the paperback and on the first two pages, lossless tears on pages 9, 18, 30 and 31, restoration of the back plate, modern canvas binding. ** Very rare first edition of one of the most famous futurist artist books, the journal-book monstre meant to be read, leafed through and thrown away. Collection of poems and free words, among the most famous of the entire Futurist production. & Nbsp; The enigmatic title of this book should be read "Galore plus eighteen", as Soffici explains: "The general title of it was suggested to me by one of those bizarre combinations of characters and typographical signs that sometimes result from their disordered descent from the "warehouse" of the linotype onto the lead of a line, due to an enchantment or a momentary failure of the machine ... "(Ardengo Soffici, End of a world , Florence, Vallecchi, 1955: page 791). "In" Bïf§zf + 18 "... Soffici offers one of the highest essays of futurist poetry between free verses inspired by simultaneism and a paroliberalism given as lyrical alchemy that destroys the logical sense, with very interesting typographical interventions, almost Dadaists , and calligrams. Strong are the rebaldian and Baudlerian implications charged by a certain spleen ... ". & nbsp; Claudia Salaris, History of Futurism , Rome, Editori Riuniti, 1992, p. 71. The edition of 300 copies was largely destroyed with the flood of 1966, still lying unsold in the Vallecchi warehouses. This is one of the top copies, in Roman numerals, with a heartfelt dedication to Giannotto Bastianelli, an illustrious Florentine music critic. Very close to the vocian environment, & nbsp; in 1914, together with Ildebrando Pizzetti, he edited a periodical music publication entitled & nbsp; Dissonanza, whose subtitle, "Modern Italian musical compositions, collected by GB and Ildebrando Pizzetti", clearly indicated the intention to follow and favor the most daring manifestations of the new musical language. Forms that winked at the futurists. & Nbsp; In 1915 he collaborated at the same time with Voce and Lacerba, for which he followed and got to know Soffici's project for this work closely. & Nbsp;