{"id":7818,"date":"2015-08-01T02:13:58","date_gmt":"2015-08-01T00:13:58","guid":{"rendered":"http:\/\/culturedarm.com\/?p=7818"},"modified":"2022-09-13T15:53:27","modified_gmt":"2022-09-13T13:53:27","slug":"the-early-poetry-of-mina-loy","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/the-early-poetry-of-mina-loy\/","title":{"rendered":"The Early Poetry of Mina Loy"},"content":{"rendered":"

\"MinaLoy\"<\/p>\n

When the first issue of Others: A Magazine of the New Verse<\/em><\/a> appeared in July 1915 – a new venture out of New Jersey headed by the poet and editor Alfred Kreymborg – it featured four short ‘Love Songs’ by Mina Loy. Loy at the time was lingering in Florence. Born as Mina\u00a0L\u00f6wy on 27 December 1882 in London, her father was\u00a0a Hungarian Jewish tailor and her mother English and of the Evangelical faith. After leaving school at the age of seventeen, spending a couple of years learning\u00a0art in Munich, and returning to England where she studied alongside Augustus John, she moved from London to Paris in 1903, and began her career as a post-impressionist painter.<\/p>\n

The first Salon d\u2019Automne exhibition, multidisciplinary and eschewing hierarchies of genre, opened in October 1903, showcasing works by Pierre Bonnard, Henri Matisse<\/a>, Albert Gleizes, and a retrospective for the recently deceased Paul Gauguin. By the following autumn, under her newly-adopted surname, Loy had been elected to this salon, and six of her watercolours were exhibited alongside rooms devoted to Matisse, Paul C\u00e9zanne<\/a>, Puvis de Chavannes, Odilon Redon, Auguste Renoir, and Henri de Toulouse-Lautrec.<\/p>\n

In the spring of 1905, two more of Loy’s watercolours were displayed at the Salon des Beaux-Arts.\u00a0Soon after her arrival in Paris, she had met and married another young English artist, Stephen Haweis, who at the same time was gaining some prominence as a photographer. The couple had a child, who they named Oda, but Oda died on her first birthday. Short of money and with their relationship faltering, in 1907 Mina and Stephen moved to Florence.<\/p>\n

While she had been involved in Paris’ literary scene, it was only after her move to Italy that – owing to her close friendship with the well-read American heiress and patron Mabel Dodge – Loy met Gertrude Stein. Stein and her older brother Leo had amassed an impressive collection of post-impressionist paintings, and counted Matisse and Picasso among their friends. But if the initial connection came through art, Loy and Stein also shared an interest in Christian Science, and Stein’s experiments in literary form\u00a0would prove a primary influence on Loy’s writing.<\/p>\n

Loy\u00a0also read Bergson, Freud, and eastern philosophy with Dodge; however beyond\u00a0burgeoning friendships and an increase in activity after a slow first few years in Florence, the relationship between Mina and Stephen continued to deteriorate. They had two more children, but both parents embarked on a series of affairs. Loy became increasingly attached to the circle of the Italian Futurists, headed by the poet\u00a0Filippo Tommaso Marinetti, who in February 1909 had published on the front page of the French newspaper\u00a0Le Figaro<\/em>\u00a0his\u00a0Futurist Manifesto<\/em>: a rejection of past forms and an embrace of modern technology which asserted, ‘Art, in fact, can be nothing but violence, cruelty, and injustice’.<\/p>\n

Loy began a romance with Giovanni Papini, a polemical essayist, poet, and short story writer who integrated\u00a0with the Futurists, but frequently tussled with Marinetti over the narrow definition and practises of the movement. This romance soured upon Loy’s brief affair with Marinetti. Despite a strain of misogynistic thinking in his work, Marinetti considerably\u00a0spurred her to take up literature; and while Loy continued to show her art, several of her paintings appearing at the Futurist Open International Exhibition of 1914, she also began to publish her earliest poems.<\/p>\n

Her poetic debut came with ‘Caf\u00e9 du N\u00e9ant’, published in the August 1913 issue of The International<\/em>, which also featured\u00a0poetry by Rabindranath Tagore<\/a>. This had been facilitated by Carl Van Vechten, another acquaintance who Loy made through Dodge. And Van Vechten soon followed up\u00a0by publishing Loy’s ‘The Costa San Giorgio’ in the ‘little magazine’ of modern literature he was editing at the time, Trend<\/em>. ‘The Costa San Giorgio’ begins:<\/p>\n

‘The Costa San Giorgio’, by Mina Loy (1913)<\/strong><\/p>\n

We English make a tepid blot
\nOn the messiness
\nOf the passionate Italian life-
\ntraffic
\nThrobbing the street up steep
\nUp up to the porta
\nCulminating
\nIn the stained frescoe of the dragon-slayer<\/p>\n

The hips of women sway
\nAmong the crawling children they produce
\nAnd the church hits the barracks
\nWhere
\nThe greyness of marching men
\nFalls through the greyness of stone
\nOranges half-rotten are sold at a reduction
\nHoarsely advertised as broken heads
\nBROKEN HEADS and the barber
\nHas an imitation mirror
\nAnd Mary preserve our mistresses from seeing us as we see ourselves
\nShaving
\nICE CREAM
\nLicking is larger than mouths
\nBoots than feet
\nSlip Slap and the string dragging
\nAnd the angle of the sun
\nCuts the whole lot in half<\/p>\n

In\u00a0June\u00a01914, Loy’s ‘Aphorisms on Futurism’ were published in\u00a0Alfred Stieglitz’s New-York-based arts review Camera Work<\/em>. And in November ‘Parturition’, a graphic depiction of childbirth, appeared in\u00a0Trend<\/em>. By this juncture – with tensions among the Milan and Florence Futurists heading\u00a0towards a split; her frayed relationship with Papini; and World War I now underway, causing Papini to become increasingly nationalistic – Loy was looking to make a\u00a0move to New York.<\/p>\n

Trend<\/em> soon folded, and in early 1915 Rogue<\/em> was established in New York by Allan and Louise Norton. Featuring literature by the likes of Stein, Wallace Stevens, and Walter Arensberg, in April Rogue<\/em> printed Loy’s ‘Sketch of a Man on a Platform’; and in May ‘Three Moments in Paris’, incorporating a slightly revised\u00a0‘Caf\u00e9 du N\u00e9ant’:<\/p>\n

‘Three Moments in Paris’, by Mina Loy (1915)<\/strong><\/p>\n

1. One O’Clock at Night<\/i><\/p>\n

Though you have never possessed me
\nI have belonged to you since the beginning of time
\nAnd sleepily I sit on your chair beside you
\nLeaning against your shoulder
\nAnd your careless arm across my back gesticulates
\nAs your indisputable male voice\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0roars
\nThrough my brain and my body
\nArguing “Dynamic Decomposition”
\nOf which I understand nothing
\nSleepily
\nAnd the only less male voice of your brother pugilist of the intellect
\nBooms\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0as it seems to me\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0so sleepy
\nAcross an interval of a thousand miles
\nAn interim of a thousand years
\nBut you who make more noise than any man in the world when you clear your throat
\nDeafening\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0wake me
\nAnd I catch the thread of the argument
\nImmediately assuming my personal mental attitude
\nAnd cease to be a woman<\/p>\n

Beautiful halfhour of being a mere woman
\nThe animal woman
\nUnderstanding nothing of man
\nBut mastery\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0and the security of imparted physical heat
\nIndifferent to cerebral gymnastics
\nOr regarding them as the self-indulgent play of children
\nOr the thunder of alien gods
\nBut you wake me up
\nAnyhow\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0who am I that I should criticize your theories of “Plastic Velocity”
\n“Let us go home\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0she is tired\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0and wants to go to bed.”<\/p>\n

2. Caf\u00e9 du N\u00e9ant<\/i><\/p>\n

Little tapers leaning\u00a0 \u00a0 \u00a0 lighted diagonally
\nStuck in coffin tables of the Caf\u00e9 du N\u00e9ant
\nLeaning to the breath of baited bodies
\nLike young poplars fringing the Loire<\/p>\n

Eyes that are full of love
\nAnd eyes that are full of kohl
\nProjecting light across the fulsome ambiente
\nTrailing the rest of the animal behind them
\nTelling of tales without words
\nAnd lies of no consequence
\nOne way or another<\/p>\n

The young lovers hermetically buttoned up in black
\nTo black cravat
\nTo the blue powder edge dusting the yellow throat
\nWhat color could have been your bodies
\nWhen last you put them away<\/p>\n

Nostalgic youth
\nHolding your mistress’s pricked finger
\nIn the indifferent flame of the taper
\nSynthetic symbol of\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0LIFE
\nIn this factitious chamber of\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0DEATH
\nThe woman
\nAs usual
\nIs smiling\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0as bravely
\nAs it is given to her to be\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0brave
\nWhile the brandy cherries
\nIn winking glasses
\nAre decomposing
\nHarmoniously
\nWith the flesh of spectators
\nAnd at a given spot<\/p>\n

There is one
\nWho
\nHaving the concentric lighting focussed precisely upon her
\nProphetically blossoms in perfect putrefaction
\nYet\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0there are cabs outside the door.<\/p>\n

3. Magasins du Louvre<\/i><\/p>\n

All the virgin eyes in the world are made of glass<\/p>\n

Long lines of boxes
\nOf dolls
\nPropped against banisters
\nWalls and pillars
\nHuddled on shelves
\nAnd composite babies with arms extended
\nHang from the ceiling
\nBeckoning
\nSmiling
\nIn a profound silence
\nWhich the shop walker left trailing behind him
\nWhen he ambled to the further end of the gallery
\nTo annoy the shop girl<\/p>\n

All the virgin eyes in the world are made of glass
\nThey alone have the effrontery to
\nStare through the human soul
\nseeing nothing
\nBetween parted fringes<\/p>\n

One cocotte wears a bowler hat and a sham camellia
\nAnd one an iridescent boa
\nFor there are two of them
\nPassing
\nAnd the solicitous mouth of one is straight
\nThe other curved to a static smile<\/p>\n

They see the dolls
\nAnd for a moment their eyes relax
\nTo a flicker of elements unconditionally primeval
\nAnd now averted
\nSeek each other’s\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0surreptitiously
\nTo know if the other has seen
\nWhile mine are inextricably entangled with the pattern on the carpet
\nAs eyes are apt to be
\nIn their shame
\nHaving surprised a gesture that is ultimately intimate<\/p>\n

All the virgin eyes in the world are made of glass.<\/p>\n

* * *<\/p>\n

Today interest in Mina Loy waxes and wanes. She remains best known for Lunar Baedeker<\/em>, which was published by\u00a0Robert McAlmon’s Contact Press\u00a0in 1923, and for her ‘Feminist Manifesto’, which she wrote in Italy in 1913. But during her lifetime it was ‘Love Songs’ which had the greatest impact. Otherwise known as ‘Songs to Joannes’, these\u00a0thirty-four poems were written on the subject of her failed relationship with Papini.<\/p>\n

Published in\u00a0Others<\/em> from the first issue of July 1915, Loy’s ‘Songs’ were marked by their free verse and idiosyncratic use of punctuation. Drawing stylistic comparisons to the work of Emily Dickinson, like her Loy made use of hyphens; but more often she introduced unorthodox line-breaks and spaces between words and at the start of sentences. Allied to the suggestive subject matter, which in fraught and highly analytic language still clearly referred to sexual intercourse and male genitalia, ‘Love Songs’ caused something of a scandal.<\/p>\n

When she finally arrived in New York in October 1916, Loy quickly became a central figure\u00a0among the core of artists who spent their time between New Jersey and New York City, and had collectively rallied around Others<\/em>. These included Kreymborg, Man Ray,\u00a0Walter and Louise Arensberg, William Carlos Williams, Wallace Stevens, Marianne Moore, and Marcel Duchamp. She was immediately drawn into the Provincetown Players theatre group. Her divorce from Stephen Haweis was finalised in 1917; and in that year, she met the ‘poet-boxer’ Arthur Cravan. A whirlwind romance resulted in their marriage in Mexico City; but with Loy pregnant, Cravan disappeared, presumed drowned.<\/p>\n

Among those critical of ‘Love Songs’, Amy Lowell called the poems ‘obscene’ and threatened to withdraw her work from Others<\/em>. Loy’s poetry was condemned as pornographic, and its free verse parodied. On the other hand by 1917 Ezra Pound, writing in The Little Review<\/a><\/em>, praised\u00a0Loy’s literature as ‘a dance of the intelligence among words and ideas and modification of ideas and characters’. And in the prologue to 1920’s\u00a0Kora in Hell<\/i>, William Carlos Williams acclaimed Loy and Marianne Moore as the twin poles of America’s poetic landscape.<\/p>\n

\u2018Love Songs\u2019, by Mina Loy (1915)<\/strong><\/p>\n

I<\/p>\n

Spawn of fantasies
\nSitting the appraisable
\nPig Cupid \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0his rosy snout
\nRooting erotic garbage
\n\u201cOnce upon a time\u201d
\nPulls a weed \u00a0 \u00a0 \u00a0white star-topped
\nAmong wild oats sown in mucous membrane
\nI would \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0an eye in a Bengal light
\nEternity in a sky-rocket
\nConstellations in an ocean
\nWhose rivers run no fresher
\nThan a trickle of saliva<\/p>\n

There are suspect places<\/p>\n

I must live in my lantern
\nTrimming subliminal flicker
\nVirginal \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0to the bellows
\nOf experience
\nColored glass.<\/p>\n

II<\/p>\n

The skin-sack
\nIn which a wanton duality
\nPacked
\nAll the completions of my infructuous impulses
\nSomething the shape of a man
\nTo the casual vulgarity of the merely observant
\nMore of a clock-work mechanism
\nRunning down against time
\nTo which I am not paced
\nMy finger-tips are numb from fretting your hair
\nA God\u2019s door-mat
\nOn the threshold of your mind.<\/p>\n

III<\/p>\n

We might have coupled
\nIn the bed-ridden monopoly of a moment
\nOr broken flesh with one another
\nAt the profane communion table
\nWhere wine is spilled on promiscuous lips<\/p>\n

We might have given birth to a butterfly
\nWith the daily news
\nPrinted in blood on its wings.<\/p>\n

IV<\/p>\n

Once in a mezzanino<\/em>
\nThe starry ceiling
\nVaulted an unimaginable family
\nBird-like abortions
\nWith human throats
\nAnd wisdom\u2019s eyes
\nWho wore lamp-shade red dresses
\nAnd woolen hair<\/p>\n

One bore a baby
\nIn a padded porte-enfant<\/em>
\nTied with a sarsanet ribbon
\nTo her goose\u2019s wings
\nBut for the abominable shadows
\nI would have lived
\nAmong their fearful furniture
\nTo teach them to tell me their secrets
\nFor I had guessed mine
\nThat if I should find YOU
\nAnd bring you with me
\nThe brood would be swept clean out.<\/p>\n","protected":false},"excerpt":{"rendered":"

When the first issue of Others: A Magazine of the New Verse appeared in July 1915 – a new venture out of New Jersey headed by the poet and editor Alfred Kreymborg – it featured four short ‘Love Songs’ by Mina Loy. Loy at the time was lingering in Florence. Born as Mina\u00a0L\u00f6wy on 27 […]<\/p>\n","protected":false},"author":1,"featured_media":7820,"comment_status":"open","ping_status":"open","sticky":false,"template":"single-no-sidebar.php","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3878,4011],"tags":[3970,3971,2494],"class_list":{"0":"post-7818","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-literature","8":"category-poetry","9":"tag-futurism","10":"tag-mina-loy","11":"tag-poetry"},"jetpack_publicize_connections":[],"yoast_head":"\nThe Early Poetry of Mina 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