Considered the enfant terrible of the Polish avant-garde, lauded by critics and scorned by the public, Bruno Jasieński suddenly declared the end of Futurism in Poland soon after his short “novel” The Legs of Izolda Morgan, appeared in 1923. An extraordinary example of Futurist prose, this fantastic tale explores how the machine has supplanted the human while the human body is disaggregated into fetishized constituent parts. As one of the central texts in Jasieński's oeuvre, it is situated between two seminal manifestoes and the important essay “Polish Futurism,” which signaled the movement’s end in the context of its confused reception in Poland, the towering influence of Mayakovsky, and what set it apart from the futurisms in Italy and Russia. The condensed story “Keys” shows Jasieński’s turn toward satire to lambaste the pervasive hypocrisies of powerful institutions, and this is further developed in the two longer grotesques from his time in the Soviet Union in the 1930s. Translated into English from the Russian for the first time, these two late stories expose the nefarious absurdity of racial persecution and warmongering and the lengths social and political structures will go to underpin them.