As absurdist playwrights shattered the boundaries of traditional theatre, e. e. cummings defied the conventions of poetry with his daring manipulation of grammar, syntax, and punctuation. His anthology, 100 Selected Poems, released by Grove Press in 1989, showcases his distinctive style through works such as “anyone lived in a pretty how town,” “next to of course god america i,” and “my sweet old etcetera.”

René Magritte, the artist known for his surreal imagery, often depicted the unexpected and the bizarre, with iconic symbols like the green apple and the ubiquitous black bowler hat capturing the essence of absurdism. Robert Hughes’s book, The Portable Magritte, published by Universe Publishers in 2001, offers an insightful exploration into Magritte’s enigmatic creations.

Slaughterhouse Five, crafted by Kurt Vonnegut and published by Dell Publishing in 1969, is a stirring narrative drawn from his own harrowing experiences as a prisoner of war in Dresden during World War II’s devastating firebombing. The novel echoes the absurdist themes of existential futility amidst the chaos of mass destruction.

In the realm of music videos, elements of Absurdism frequently dance across the screen, with numerous publications delving into this vibrant art form. Notable among these are Thirty Frames per Second: The Visionary Art of the Music Video by Steven Reiss, Neil Feineman, and Jeff Ayeroff, published by Harry N. Abrams, Inc. in 2000; Rocking Around the Clock: Music Television, Postmodernism, and Consumer Culture by E. Ann Kaplan, released by Methuen Drama in 1987; and Dancing in the Distraction Factory: Music Television and Popular Culture by Andrew Goodwin, brought to you by the University of Minnesota Press in 1992.