{"id":281,"date":"2023-02-09T10:19:41","date_gmt":"2023-02-09T15:19:41","guid":{"rendered":"https:\/\/umaine.edu\/poetry\/?page_id=281"},"modified":"2024-10-08T10:58:14","modified_gmt":"2024-10-08T14:58:14","slug":"mina-loy-woman-and-poet","status":"publish","type":"page","link":"https:\/\/umaine.edu\/poetry\/mina-loy-woman-and-poet\/","title":{"rendered":"Mina Loy : Woman and Poet"},"content":{"rendered":"<style>.kb-row-layout-id281_2a379f-26 > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id281_2a379f-26 > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id281_2a379f-26 > .kt-row-column-wrap{column-gap:var(--global-kb-gap-md, 2rem);row-gap:var(--global-kb-gap-md, 2rem);padding-top:var(--global-kb-spacing-sm, 1.5rem);padding-bottom:var(--global-kb-spacing-sm, 1.5rem);grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}.kb-row-layout-id281_2a379f-26 > .kt-row-layout-overlay{opacity:0.30;}@media all and (max-width: 1024px){.kb-row-layout-id281_2a379f-26 > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}}@media all and (max-width: 767px){.kb-row-layout-id281_2a379f-26 > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr);}}<\/style><div class=\"kb-row-layout-wrap kb-row-layout-id281_2a379f-26 alignnone wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-right-golden kt-tab-layout-inherit kt-mobile-layout-row kt-row-valign-top\">\n<style>.kadence-column281_b4a025-97 > .kt-inside-inner-col,.kadence-column281_b4a025-97 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column281_b4a025-97 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column281_b4a025-97 > .kt-inside-inner-col{flex-direction:column;}.kadence-column281_b4a025-97 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column281_b4a025-97 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column281_b4a025-97{position:relative;}@media all and (max-width: 1024px){.kadence-column281_b4a025-97 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column281_b4a025-97 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column281_b4a025-97\"><div class=\"kt-inside-inner-col\"><style>.kb-image281_4b8f19-11 .kb-image-has-overlay:after{opacity:0.3;}<\/style>\n<figure class=\"wp-block-kadence-image kb-image281_4b8f19-11 size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"672\" height=\"1024\" src=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/loy1998.jpg\" alt=\"Thumbnail of cover for Mina Loy : Woman and Poet\" class=\"kb-img wp-image-221\" srcset=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/loy1998.jpg 672w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/loy1998-197x300.jpg 197w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/loy1998-92x140.jpg 92w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/loy1998-317x483.jpg 317w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/loy1998-423x645.jpg 423w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/loy1998-634x966.jpg 634w\" sizes=\"auto, (max-width: 320px) 85vw, (max-width: 768px) 67vw, (max-width: 1024px) 62vw,672px\" \/><figcaption>Mina Loy : Woman and Poet (1998)<\/figcaption><\/figure>\n\n\n<style>.wp-block-kadence-advancedbtn.kt-btns281_fb2cb9-ed, .site .entry-content .wp-block-kadence-advancedbtn.kt-btns281_fb2cb9-ed, .wp-block-kadence-advancedbtn.kb-btns281_fb2cb9-ed, .site .entry-content 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#003263;padding-top:7px;padding-right:25px;padding-bottom:7px;padding-left:25px;margin-top:40px;margin-bottom:40px;}.wp-block-kadence-advancedbtn .kb-btn281_d61351-13.kb-button:hover, .wp-block-kadence-advancedbtn .kb-btn281_d61351-13.kb-button:focus{color:#ffffff;background:#003263;border-top-color:#003263;border-top-style:solid;border-right-color:#003263;border-right-style:solid;border-bottom-color:#003263;border-bottom-style:solid;border-left-color:#003263;border-left-style:solid;}@media all and (max-width: 1024px){.wp-block-kadence-advancedbtn .kb-btn281_d61351-13.kb-button{border-top:3px solid #003263;border-right:3px solid #003263;border-bottom:3px solid #003263;border-left:3px solid #003263;}}@media all and (max-width: 1024px){.wp-block-kadence-advancedbtn .kb-btn281_d61351-13.kb-button:hover, .wp-block-kadence-advancedbtn .kb-btn281_d61351-13.kb-button:focus{border-top-color:#003263;border-top-style:solid;border-right-color:#003263;border-right-style:solid;border-bottom-color:#003263;border-bottom-style:solid;border-left-color:#003263;border-left-style:solid;}}@media all and (max-width: 767px){.wp-block-kadence-advancedbtn .kb-btn281_d61351-13.kb-button{border-top:3px solid #003263;border-right:3px solid #003263;border-bottom:3px solid #003263;border-left:3px solid #003263;}.wp-block-kadence-advancedbtn .kb-btn281_d61351-13.kb-button:hover, .wp-block-kadence-advancedbtn .kb-btn281_d61351-13.kb-button:focus{border-top-color:#003263;border-top-style:solid;border-right-color:#003263;border-right-style:solid;border-bottom-color:#003263;border-bottom-style:solid;border-left-color:#003263;border-left-style:solid;}}<\/style><a class=\"kb-button kt-button button kb-btn281_d61351-13 kt-btn-size-standard kt-btn-width-type-fixed kb-btn-global-outline  kt-btn-has-text-true kt-btn-has-svg-false  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(max-width: 767px){.kadence-column281_8fe48d-ad > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column281_8fe48d-ad\"><div class=\"kt-inside-inner-col\">\n<p>\u201cMina Loy . . . was a charter member of the generation that . . . launched the modernist revolution in poetry in the United States. Loy was too radical for Poetry\u2019s editor Harriet Monroe, who published her poetry only in a review article, but the generation\u2019s more innovative members admired her defiant honesty of subject and applauded the new directions she advanced for poetry.\u201d<\/p>\n\n\n\n<p>&#8211; Virginia M. Kouidis, Dictionary of Literary Biography<\/p>\n\n\n\n<p>\u201cMina Loy . . . has always been able to understand.\u201d<\/p>\n\n\n\n<p>&#8211; Gertrude Stein, The Autobiography of Alice B. Toklas<\/p>\n\n\n\n<p><em>Mina Loy: Woman and Poet<\/em> represents the first substantial collection of criticism devoted to this major Modernist poet, whose work is now undergoing significant reassessment and revival throughout the international literary and poetry communities. Editors Keith Tuma and Maeera Y. Shreiber have assembled an impressive lineup of essays about Loy\u2019s work, a previously unpublished interview with Loy, biographical remembrances, and an annotated bibliography of works by and about Loy. Contributors include Kathleen Fraser, Barbara Guest, Marjorie Perloff, Peter Quartermain, Rachel Blau DuPlessis, Carolyn Burke, and Roger Conover. In the words of the editors, this volume attempts, in part, to answer the question, \u201cWhat critical posture, what methodology, would be altogether true to the spirit of a body of poems that includes much jostling among the elegaic, the satiric, and the erotic, sapphoesque density and epigrammatic abstractions?&#8221;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Contents<\/h3>\n\n\n\n<p><strong><em>Love Songs to Joannes<\/em><\/strong><\/p>\n\n\n\n<p>Eric Murphy Selinger, \u201cLove in the Time of Melancholia\u201d<\/p>\n\n\n\n<p>Rachel Blau DuPlessis, \u201c\u2018Seismic Organism\u2019: Sexual Intercourse and Narrative Meaning in Mina Loy\u201d<\/p>\n\n\n\n<p>Peter Quartermain, \u201c\u2018The Tattle of Tongueplay\u2019: Mina Loy\u2019s&nbsp;<em>Love Songs<\/em>\u201d<\/p>\n\n\n\n<p>Maeera Shreiber, \u201c\u2018Love Is a Lyric \/ of Bodies\u2019: The Negative Aesthetics of Mina Loy\u2019s&nbsp;<em>Love Songs to Joannes<\/em>\u201d<\/p>\n\n\n\n<p>Jeffrey Twitchell-Waas, \u201c\u2018Little Lusts and Lucidities\u2019: Reading Mina Loy\u2019s&nbsp;<em>Love Songs<\/em>\u201d<\/p>\n\n\n\n<p><em><strong>Anglo-Mongrels and the Ros<\/strong><strong>e<\/strong><\/em><\/p>\n\n\n\n<p>Marjorie Perloff, \u201cEnglish as a \u2018Second\u2019 Language: Mina Loy\u2019s \u2018<em>Anglo-Mongrels and the Rose<\/em>\u2019\u201d<\/p>\n\n\n\n<p>Elisabeth Frost, \u201cMina Loy\u2019s \u2018Mongrel\u2019 Poetics\u201d<\/p>\n\n\n\n<p>Keith Tuma, \u201cMina Loy\u2019s \u2018<em>Anglo-Mongrels and the Rose<\/em>\u2019\u201d<\/p>\n\n\n\n<p><strong>Enter Mina Loy<\/strong><\/p>\n\n\n\n<p>Mina Loy: Interview with Paul Blackburn and Robert Vas Dias, introduction by Carolyn Burke<\/p>\n\n\n\n<p>Roger Conover, \u201c(Re) Introducing Mina Loy\u201d<\/p>\n\n\n\n<p>Susan Gilmore, \u201cImna, Ova, Mongrel, Spy: Anagram and Imposture in the Work of Mina Loy\u201d<\/p>\n\n\n\n<p>Anita Helle, \u201cPlaying with Elegy: Mina Loy\u2019s Poetry of Mourning\u201d<\/p>\n\n\n\n<p>Tyrus Miller, \u201c\u2018Everyman His Own Fluroscope\u2019: Mina Loy\u2019s&nbsp;<em>Insel<\/em>&nbsp;Between Aura and Image Machine\u201d<\/p>\n\n\n\n<p>Ellen Keck Stauder, \u201cMina Loy on Brancusi and the Futurists\u201d<\/p>\n\n\n\n<p>Janet Lyon, \u201cMina Loy\u2019s Pregnant Pauses: The Space of Possibility in the Florence Writings\u201d<\/p>\n\n\n\n<p>Marisa Januzzi, \u201cMongrel Rose: The \u2018Unerring Esperanto\u2019 of Loy\u2019s Poetry\u201d<\/p>\n\n\n\n<p>Susan E. Dunn, \u201cMina Loy, Fashion, and the Avant-Garde\u201d<\/p>\n\n\n\n<p>Richard Cook, \u201cThe \u2018Infinitarian\u2019 and Her \u2018Macro-Cosmic Presence\u2019: The Question of Loy and Christian Science\u201d<\/p>\n\n\n\n<p><strong>A Poet\u2019s Corner<\/strong><\/p>\n\n\n\n<p>Kathleen Fraser, \u201c\u2018Contingent Circumstances\u2019: Mina Loy\/Basil Bunting\u201d<\/p>\n\n\n\n<p>Norma Cole, \u201cA Few Words About Mina Loy\u201d<\/p>\n\n\n\n<p>Barbara Guest, \u201cNote on Mina Loy\u201d<\/p>\n\n\n\n<p>Rachel Blau DuPlessis, \u201cA Letter on Loy\u201d<\/p>\n\n\n\n<p>Anne Waldman, \u201cTantrik Loy\u201d<\/p>\n\n\n\n<p><strong>Bibliography<\/strong><\/p>\n\n\n\n<p>Marisa Januzzi, \u201cA Bibliography of Works By and About Mina Loy\u201d<\/p>\n<\/div><\/div>\n\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>\u201cMina Loy . . . was a charter member of the generation that . . . launched the modernist revolution in poetry in the United States. Loy was too radical for Poetry\u2019s editor Harriet Monroe, who published her poetry only in a review article, but the generation\u2019s more innovative members admired her defiant honesty of [&hellip;]<\/p>\n","protected":false},"author":2234,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-281","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mina Loy : Woman and Poet - The Center for Poetry and Poetics - University of Maine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/umaine.edu\/poetry\/mina-loy-woman-and-poet\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mina Loy : Woman and Poet - The Center for Poetry and Poetics - University of Maine\" \/>\n<meta property=\"og:description\" content=\"\u201cMina Loy . . . was a charter member of the generation that . . . launched the modernist revolution in poetry in the United States. 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