" Slosson had grown alarmed at depictions of the scientist as "an enemy of society inventing infernal machines, or as a curious, half-crazy creature talking a jargon of his own and absorbed in pursuit of futilities.
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Fiction: Surmising the Mirror, Svjetlost, Sarajevo, 1987. Nights of the Full Moon, Svjetlost, Sarajevo, 1990. Futilities, HIT, Znanje, Zagreb, 1996. The Escape from Future, Profil, Zagreb, 2008.
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The word came back to me as a sudden illumination. That was it, it was all a staged show.' The delusions which accompanied this insight were hardly more absurd than the futilities of war. His other books were a biography of Martin Luther, a travel guide to Belgium and a history of the Rothschild family.
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"Now here's my plan...", Shel Silverstein's best known cartoon of the 1950s, became the title of his 1960 cartoon collection. His best-known cartoon of the 1950s was featured on the cover of his next cartoon collection, Now Here's My Plan: A Book of Futilities, which was published by Simon & Schuster in 1960. Silverstein biographer Lisa Rogak wrote: > The cartoon on the cover that provides the book's title would turn out to be > one of his most famous and often-cited cartoons. In the cartoon, two > prisoners are chained to the wall of a prison cell.
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Of particular importance is a scene in which Mercury is sent to the realm of Mars. All three of these works (as well as Edmund Spenser's Faerie Queene) contain large tracts of allegorical figures that are housed in War's realm and which represent the various futilities of war and violence. Finally, one of the chief reasons that Statius is remembered today is because of the poet Dante Alighieri. Like Virgil, who is a character in the first two canticles of Dante's Divine Comedy, Statius, too, plays a large role in the Comedy: Dante and Virgil meet Statius in Purgatory, and he accompanies the two to the Earthly Paradise at the summit of the holy mountain.
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Jekyll wrote about Robinson that: > ...when English gardening was mostly represented by the innate futilities of > the "bedding" system, with its wearisome repetitions and garish colouring, > Mr William Robinson chose as his work in live to make better known the > treasures that were lying neglected, and at the same time to overthrow the > feeble follies of the "bedding" system. It is mainly owing to his > unremitting labours that a clear knowledge of the world of hardy-plant > beauty is now placed within easy reach of all who care to acquire it, and > that the "bedding mania" is virtually dead.Massingham, p. 85. Robinson also published God's Acre Beautiful or The Cemeteries of The Future, in which he applied his gardening aesthetic to urban churchyards and cemeteries.
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In extremely postmodernist and metatextual construction, the novel makes up new commentaries of great historical events and connects themes that are very far apart, spatially and time wise. Lukić published his second novel “Uzaludnosti” (Futilities) in 1996. That novel, in the research of literary portal Op Art was recognized as the second most read novel in Croatia in the period 1996 – 2006, based on the data of sales and library usage. The story of two couples, younger and older, who meet by accident in Europe at the end of the 20th century was evaluated by critics as “deeply emotional and at the same time intellectually sophisticated”. The third novel “Bijeg od budućnosti” (The Escape from Future) was published in 2008, twelve years after the previous novel.
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These poems, though derivative, indicate a resolute determination to challenge the literary conventionalities. Improving on the poems of his youth, he showed himself an innovator in his lyrics, rejecting at once Petrarchism, Secentismo and Arcadia, the three maladies that he thought had weakened Italian art in the preceding centuries. In the Odi the satirical note is already heard, but it comes out more strongly in Del giorno, in which he imagines himself to be teaching a young Milanese patrician all the habits and ways of gallant life; he shows up all its ridiculous frivolities, and with delicate irony unmasks the futilities of aristocratic habits. Dividing the day into four parts, the Mattino, the Mezzogiorno, the Vespero, and the Notte, he describes the trifles of which they were made up, and the book thus assumes major social and historical value.
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