This study pursues two aims. First it presents the hitherto little-known and academically neglected first Zagreb edition of Yvan Goll's (1891-1950) extensive poem "Paris brennt" in a synoptic comparison with the two later, much-abridged and obviously (and characteristically) modified versions (in French and German). In addition, Goll's text with its avant-garde eclectic combination of futurist, cubist, surrealist and zenithist elements is an ideal vehicle for a more searching discussion of some of the most important literary techniques of modernism, notably montage and simultaneity.