When is a Futurist not a Futurist? A very difficult question that, for readers answer it one way and writers another. Some writers are Futuristic on alternate days, or every seventh day. One of these is Enrico Cavacchioli, a Sicilian living in Milan, the dramatic critic of the _Secolo_ and the director of _Il Mondo_ and of the publishing-house of Vitagliano. His reputation as a man of letters stands in no relation to his futurist poems. It does, however, to his compositions for the theatre, and especially to his great success, "Uccello del Paradiso" ("Bird of Paradise"). His last contribution, "Quella che t'assomiglia" ("That Which Resembles You"), which he calls a vision in three acts, is a satire on the present-day interest in the occult and supernatural. When the promising and brilliant young writer of the Florentine group, Renato Serra, was killed in the war, Italy lost one of its most gifted critics since De Sanctis. Despite his youth he had, when he was called to the colors, already won a conspicuous position as a man of letters. Alfredo Panzini dedicated his "Madonna di Mamà" to him, and made touching allusions to his qualities of soul and potential greatness. In 1914 he published a survey of contemporary Italian literature ("Le Lettere"), and the five years which have elapsed since then have shown that his estimates and judgments were unusually sound. His was neither the academic idealistic criticism of the old school nor the historic philosophic criticism of Croce. He attempted to interpret writers, plans, and performances and to contrast them with ideals he had himself conceived or worked out from study of the masters. His last work, "Scritti Critici" ("Critical Writings"), was published in 1919. They show a subtle and profound analysis, an original point of view, and equilibrium in expression and in form. His style is simple, his statements clear, his presentations convincing. Another young writer of this group, a man of great promise, was Scipio Slattaper. He gave his life for his country in the early days of the war. Corrado Govoni has, for the past decade, been considered by some to be Italy's most promising poet. There is definite infantilism in his work, a distractibility, a discursiveness, that has stood in the way of meriting such estimate. Although still a young man (thirty-five), he has eight volumes of poetry that bear his name. Papini was his impresario but he no longer treats him as one of his favored family. His first volume was called "Le fiale" ("The Honeycomb"), the next "Armonia in Grigio ed in Silenzio" ("Harmony in Gray and in Silence"). They were truly juvenile. The third volume, "Fuochi d'Artifizio" ("Fireworks"), showed the influence of Rodenbach, of James, and of the modern French school. In 1907 he published "Aborti," which showed his mental growth and which is one of his best even to the present time.