She loved reflective materials of all kinds -- translucent or opalescent glass, fabrics like moiré, satin, and velvet, butterfly wings and gemstones. Alfred Kreymborg remembered in his autobiography, Troubadour (1925), that for the first issue of Others (July 1915), a raffish "yellow dog" journal more tolerant of innovation than Poetry, he and coeditor Walter Arensberg agreed that poems by Loy and Wallace Stevens were a must. Loy, Mina. The Last Lunar Baedeker, a fairly complete edition of Loy's published and unpublished poems and short prose pieces, reveals that Loy wrote numerous poems after 1925. He recalled in Troubadour that "no manuscripts required more readings than those of Mina Loy and Marianne Moore." Mina Loy, Paris, c. 1905: In some ways, Mina put poems together as one would assemble a stained-glass window: her true self is found in the shimmer of light on color. The 1923 date for Lunar Baedecker is also significant as a culminating point of early experiment by other modernists: in addition to Williams's and Hemingway's volumes, Wallace Stevens's Harmonium appeared in 1923, followed in 1924 by Marianne Moore's Observations. Soon the futurists and their ideas were the objects of her satire: as lovers, artists, and promulgators of social programs they were leveled to comic buffoons. Making Modern Poetry will explore the intersection and conversation between literature, art history, and graphic design by examining the rapid global development of poetry, art, and print from 1890 to 1930. The predictable response of Vendler and some others breeds discourse, accelerating the name already ineradicably a part of the discourse of modern poetry, feeding the fires of those for whom Mina Loy's work has long been a "cause," near the center of various arguments about aesthetics and poetics, or gender and modernism. Ova is in many ways Every-Child, but her story is particularly that of a female child in a "mongrel" family. Loy's distinction at this time among the fledgling modernists is testified to by the inclusion of one of her art poems, "Brancusi's Golden Bird," in the well-known Waste Land issue of the Dial (November 1922). The second section includes the Dial poems on art, indicating that the early 1920s saw a resurgence of Loy's poetic activity after a dry spell following Cravan's disappearance. Recent poems about pregnancy, birth, and being a mother. Mina Loy also experimented with typography, but saw her male counterparts far eclipse her reputation. (These wings became something of a signature in Loy's poetry and painting, representing spiritual aspiration or, when bloodied, the psyche's defeat.) Yet this poetry is not universally appreciated as it should be. This volume includes a selection of her published and unpublished poetry and appreciations by Williams, Levertov, and Kenneth Rexroth. Loy's later poetry refines the themes and techniques of her earlier work. Friend of Europeans and Americans, Loy was a hostess to many Americans and secured for some an introduction to Gertrude Stein's salon. The lines … Composition dates for the poetry are uncertain; however, the first collection of Loy's poetry, Lunar Baedecker (1923)—with its title misspelled by McAlmon—is divided into eight "Poems for 1914-1915" and eleven "Poems 1921-1922." Then in the 1940s and 1950s began the rediscovery of Mina Loy by the radical current of modernism (running from Stein, Pound, and Williams to Kenneth Rexroth and the Black Mountain poets), and in the succeeding decades feminist poets and critics recognized in Loy a very contemporary ancestor. They have abandoned a realistic presentation of life in order to possess, through abstraction, the essence of life. Like Laforgue she plays abstractions against each other to suggest the elusiveness of selfhood or to satirize the mind that flees reality for the lessened anguish of ambiguity. Gertrude Stein in The Autobiography of Alice B. Toklas (1933) remembered that in 1913 Mina Loy did not ask for the addition of commas when she read the manuscript for Stein's The Making of Americans (1925): "Mina Loy ... was able to understand without the commas. ( Log Out /  Although these early poems earned Loy the regard of her contemporaries, they received little critical attention, with the notable exceptions of T.S. Mina Loy, the poetess, and her daughters, Joella and Faby ... were so lovely that they were stared at wherever they went, and were used to it." (Born Mina Gertrude Lowy) English poet and artist. Many, however,effectively combine or alternate abstraction and image. FR, Jonathan Williams, "Things are Very Far Away,". The observer-poet attends these figures, so it seems, in the hope that from their various quests she herself may glimpse the desired revelation. The most amusing of her futurist-inspired writings—which also include the unpublished play "The Sacred Prostitute" (written circa 1914), the pamphlet Psycho-Democracy (1920), and several poems—is "Lions' Jaws" (in the Little Review, September-December 1920), a poetic satire of the aesthete "Danriel Gabrunzio" (Gabriel D'Annunzio) and the rival "Flabbergast" (futurist) movement. 157-161. Mina Loy is not Myrna Loy. Certainly the French symbolist poet influenced Loy's use of exotic diction and imagery as well as her inclusion of an unexpected, scientific word such as "sialagogues" or in a love poem the startling "mucous membrane" and "spermatozoa." At their best these poems unite sound with delicate visual imagery, reminding the reader of their more passionate and vibrant predecessors. Sound patterning remains a trademark. She remembers him in prose fragments and an unpublished novel where, as in Anglo-Mongrels and the Rose, he appears as "Colossus." Her poems were already appearing in American little magazines. T. E. Hulme’s “Romanticism and Classicism”. The explanation for her quest opens "Ephemerid" (in Accent, Summer 1946), a charming depiction of a child's fantasy world: "The Eternal is sustained by serial metamorphosis." Loy and Cravan met in New York and were married in Mexico City in January 1918. In memoirs of the late 1920s, Loy appears once more—in 1927 at Natalie Barney's salon, where she lectured on Gertrude Stein and read from her own poetry. "Crab-Angel" amusingly caricatures the decadent artist who has turned art into a circus; while "Lunar Baedeker" uses a gilded, exotic diction and imagery derived from Laforgue's "Climat, Faune et Flore de la Lune" to satirize aesthetes, dandies, and reformers who flee their responsibilities for sterile dreams. Like the first Lunar Baedecker this volume rapidly became a collector's item. While the actress Myrna Loy starred in the “The Thin Man” films, the Modernist poet Mina Loy was busying herself with the avant gardes of Italian Futurism, Dada, and to a lesser extent American Surrealism. Mina Loy. Known for both her poetry and visual art, she died in Colorado in 1966. And it is not mere coincidence that "lunar" and "lunatic" share the same root. Loy was also preoccupied in the early 1930s with her unpublished novel, "Insel," a fictionalized account of the life of her friend Richard Oelze, a German surrealist painter. In these early poems closure often takes the form of the speaker's ironic dismissal of her (male) subject or of a mocking shrug at her effort to explain her own predicament. In 1918, Pound invented the term "logopoeia," or a dance of the intellect, to describe Loy's work. See also Mina Loy Literary Criticism. Lewis's vorticist drawing (1912) erects "rocks of human mist//pyramidical survivors/in the cyclorama of space." "—"The rest of the time." For Brancusi, this essence is "the nucleus of flight." Mina Loy, one of the greatest and most influential among the experimental writers of the twentieth century, was inspired by futurism to seek her personal and intellectual liberation as a futurist-feminist woman, and started out her literary career essentially as a futurist poet and iconoclast. She is sympathetic to human limitations, but she usually brings to her poems an ironic penetration of her fellow beings' deceptions and evasions. “Modern Poetry” is one of the very few texts where Loy outlines theoretically the principles of her poetics, and it is therefore all the more striking that in this essay, just after her praise of the genius of Pound’s Cantos, of Joyce’s Ulysses and of the modernist constellation as a whole, she attributes the composite nature of modern poetry to the hybrid nature of American English, enriched with the … Her dresses, of soft dove-coloured shades, or brilliant lemon with magenta flowers, or pale green and blue, were extremely lovely. "Virgins Plus Curtains Minus Dots" (dots=dowery; in Rogue, 15 August 1915), "At the Door of the House" and "The Effectual Marriage" (both in the Others anthology for 1917), and "Magasins du Louvre" (in Rogue, 1 May 1915) offer sad-eyed (Italian) virgins and matrons blinded by romantic dreams and marketed like the dolls in a Paris shop. When Mina Loy moved to New York in 1916, she became part of a circle of writers involved with Others: A Magazine of the New Verse which included William Carlos Williams and Marianne Moore, among others. Do you ever write poetry? Photo by George Rinhart/Corbis via Getty Images. Roger Conover (Manchester 1997) p. 157. The crucial moves away from Whitman’s nineteenth-century aesthetic had to do with the line as seen, as independent of syntax and meter, as restructuring the … Eliot, Wallace Stevens, Walter Conrad Arensberg, Donald Evans, Mina Loy, and Yvor Winters," Ph.D. dissertation, Stanford University, 1967. The poem satirizes British courtship rituals and marital forms, methods of raising children, and social prejudices. It seems to me that much of the modern poetry written today is prose broken down into lines. Recent Loy commentator and editor Roger Conover records that McAlmon printed about three hundred copies of each of his volumes; that Sylvia Beach sold Lunar Baedecker for $1.50 at her shop; and that a shipment of Lunar Baedecker destined for the Chaucer Head Bookshop in New York was seized by New York City customs officials on the ground that the volume contained pornographic material (perhaps "Love Songs" or "Parturition"). -- Oscar Wilde. Loy followed her daughters to New York in 1936. Lunar Baedecker has long been a rare book. ... We will read canonical modernist poets such as T.S. She was ahead of the game. The long autobiographical poem Anglo-Mongrels and the Rose (published in installments in 1923-1925) focuses her resentment on her mother, "Alice" in the poem, whom she depicts as both victim and executrix of English mores. One of Loy’s most recognisable and insightful remarks in her essay “Modern Poetry” is that “Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea” (Loy 157). But Pound was one of Loy's strongest and most loyal champions. Good Modern poets have to create their own form “determined by the spontaneous tempo of their response to life,” and she reminds us that hexameters and alexandrines must once have come from some individual poet’s internalized musical response to life (158). "—"Every moment I spent with Arthur Cravan." Gertrude Stein is epigrammatically imaged as "Curie/of the laboratory/of vocabulary." In his review of the 1917 Others anthology (Little Review, March 1918) he characterized her poetry as "logopoeia or poetry that is akin to nothing but language, which is a dance of the intelligence among words and ideas and modification of ideas and characters." The poem is an ambitious critique of the disintegration of the old verities, especially the alliance between religion and romantic love as well as the sympathy of nature. Her rhythm is based upon the line and movement from stanzaic image to stanzaic image, or upon the alternation of abstraction and image—intellect and intuition. A list of poems by Mina Loy - The Academy of American Poets is the largest membership … To the lively discussions within these groups about the new possibilities for poetry Mina Loy offered examples of how one might adapt the innovations of the modern European painters and writers to poetry—to convey the dynamism of life ("The Costa San Giorgio," in Trend, November 1914), the movement of consciousness ("Parturition," in Trend, November 1914), and the collapse of old truths (Love Songs, the first parts of which were published in 1915). Matthew Hofer, “Mina Loy, Giovanni Papini, and the Aesthetic of Irritation” Reviews V. Nicholos LoLordo (Joe Amato, Industrial Poetics: Demo Track for Mobile Culture ; Jennifer Ashton, From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century ; and Susan Schultz, A Poetics of Impasse in Modern and Contemporary American Poetry ) Loy's other major publication of the 1920s was the long autobiographical poem (a personal mythology) Anglo-Mongrels and the Rose, which appeared in installments in two issues of the Little Review (Spring 1923 and Autumn-Winter 1923-1924) and McAlmon's Contact Collection of Contemporary Writers (1925). Two exceptions to this neglect were Jonathan Williams's 1958 volume of her poetry and a 1959 exhibition of her "Constructions" (mystical collages) at New York's Bodley Gallery. In the more than forty years since Rexroth's article other readers have increasingly been drawn to her poetry, and they continue to be intrigued by the woman who like few others lived from 1914 to 1925 at the very center of her age's consciousness. When Loy was twenty-three, they moved to Florence, Italy. The outlets for these poems were the American little magazines—Camera Work, Trend, Rogue, and Others, above all Others and Kreymborg's three Others anthologies for 1916, 1917, 1919. She was writing radical, free verse poetry well before the traditionally acknowledged high point of Modernism in 1922. Mina’s place in the world, and in the tradition of modernisms, is an interesting and contested one. Join today for free! She is imaged as a modern Psyche who has dared to look at her lover and is henceforth doomed to pursue him through deserted streets filled with the suffocating white sexual scum of their unholy union. Her first American publication, in the January 1914 issue of Alfred Stieglitz's Camera Work, was appropriately the "Aphorisms on Futurism," fifty-two prescriptions for self-realization. Her rhythms have been criticized for inconsistency, but this problem should not be overstressed. She, he said, overcame occasional clumsiness to write "momentous poems," attacking "the dirty commonplace with the doggedness of a weight-lifter." Futurists are known for writing uber-modern poetry which includes unusual punctuation, word associations, and political content. Loy is considered a free verse poet, but most of her poetry is better defined as the organic poetry that poet Denise Levertov, in "Some Notes on Organic Form" (in her The Poet in the World, 1965), distinguishes from the formlessness of free verse: it "is a poetry that in thought and in feeling and in perception seeks the forms peculiar to these experiences." The two lived in the same apartment building from 1928 to 1930, when Barnes returned to America and acted temporarily as Loy's agent. Loy's family did not believe in formal education for women, but Lowy, an indulgent father, sent Mina at seventeen to study art in Munich. The poems of Dickinson and a later poet, Mina Loy can now said to be in conversation with one another. In Mina Loy’s poem entitled “Der Blinde Junge,” she focuses on and delves deep into an image of a blind man playing a mouth harp on a street corner in Vienna. Finally, leaving her children with a nurse in the expectation that she could later return for them, she sailed for New York in October 1916. It also creates a spatialization of experience that makes past, present, and future simultaneous and prevents the speaker's escape into the healing passage of time. Mina Loy, poet and painter, was a charter member of the generation that—beginning in 1912 with the founding of Poetry magazine—launched the modernist revolution in poetry in the United States. She has always been able to understand." This magazine, ... Wallace Stevens' Of Modern Poetry. Her poems are important for the incorporation of the modern "crisis in consciousness" ("Aphorisms on Futurism") into their substance and structure, but they are above all exciting experiments in the "laboratory/of vocabulary.". ... in this volume, devoted to early futurism. Its subject is the formation of its child-heroine Ova's sense of being: her self-and- world consciousness. Many of the poems Loy wrote in the 1920s and early 1930s while living in Paris reflect her ongoing engagement with modernist and avant-garde poetics, including Surrealist poetics. For a while in New York she was involved with surrealist expatriates from World War II, but she did not join in their antics as she had in those of the Dadaist expatriates from World War I. Loy was too radical for Poetry's editor Harriet Monroe, who published her poetry only in a review article, but the generation's more innovative members admired her defiant honesty of subject and applauded the new directions she advanced for poetry. Mina Loy is primarily known as an early modernist poet, although she was also an admired creator in other spheres. Brancusi was French, although born in Romania, and was renowned for his modernist bird statues which became a symbol of the artistic movement at the time (Loy 273). The speaker observes a comatose tramp who suggests to her "deity—/ an inordinate flower / opening undefiled/among ordure." The poems on individual artists—"Brancusi's Golden Bird," "Joyce's Ulysses," Wyndham Lewis and Gertrude Stein—praise and evoke the work of modernists who have fought off alienation, despair, and tradition. Loy's enduring central theme of the need for clear vision now frequently has for its subject life's human failures: a drunken socialite, Bowery derelicts, a Jewish showman hounded by "maniac/misfortune," a blind child, a destitute old woman, and the city's poor enthralled by the gaudy illusions of a cheap cinema house. The largest collection of Loy's papers is in the Beinecke Library at Yale University. Most readers would probably agree with Eliot. With few exceptions, Loy continues to use the short free verse line. She moved to Paris in 1903 to continue her study of art, changed her name to Loy, and married Haweis on 31 December 1903. He distinguished Loy, Stevens, Moore, and Williams—the Others group—from the mid-American poets and what he called vorticists (Pound, Eliot, H.D. The monumental artistic movement that changed poetry forever. Mina Loy was born Mina Gertrude Lowy in London, England on 27th December 1882 to a Jewish father and Protestant mother. In addition to Lunar Baedecker, Contact's 1923 list included books by Marsden Hartley, McAlmon and his wife Bryher (Winifred Ellerman), as well as William Carlos Williams ( Spring and All) and Ernest Hemingway (Three Stories & Ten Poems). She sailed ahead to Buenos Aires, expecting Cravan to join her; but he disappeared, never to be heard of again. Formally, structurally, and linguistically the poem assimilates Loy's experiments to this point. Mina Loy’s Brancusi’s Golden Bird is a beautifully written, and abstract, poem that describes the art of “Costantin Brancusi…[a] pioneer of abstract sculpture” (Loy 273). A tribute to the glistening abstract sculpture of Loy's friend, the poem captures in scintillating sound currents the brass beauty of this abstraction of flight and preaches the aesthetic of abstract art: "As if/some patient peasant God/had rubbed and rubbed/the Alpha and Omega/of Form/into a lump of metal." Joella's affliction by polio in 1909 led Loy to a lifelong commitment to a personal version of Christian Science. Admittedly, as the misspelled title makes clear, McAlmon's volumes were not very accurate or elegant, but they did provide early recognition to a few emerging modernists who were to become major figures of twentieth-century American literature. In addition to its honest presentation of woman's experience, the poem is important for its technical experiment. Primary tabs.
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