However, she published little, except for two poems in Pagany (1931), four in Accent in the 1940s, "Hot Cross Bum" in New Directions in Prose & Poetry, no. She returned to London for the birth of their daughter, Fabi (Jemima Fabienne), in April 1919. Two more children were born—Joella (1907-) and Giles (1909-1923). Love Songs, a thirty-four-poem montage of disillusioned love, is Loy's major poem of the 1910s. 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. 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). Her reading of popular novels has educated her to expect that "anatomical man/ has no notion/of offering other than the bended knee/to femininity"; he anticipates a passionate wild rose. Its expression of outraged and despairing love, looking back to Loy's relationship with one or more men during the Florence years, is controlled by a self-defensive irony that transforms tears into sardonic verbal thrusts. She moved to Florence and became deeply involved with the futurist movement, though she gave its politics and cultural ambitions a feminist inflection, as her 1919 "Aphorisms on Futurism" suggests. 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. In 1901-1902 she returned to London, where she studied with Augustus John and exhibited in student shows; she also met her first husband, art student Hugh Oscar William Haweis, who called himself Stephen Haweis ("Esau" in Anglo-Mongrels and the Rose). Especially good in its vivid imagery, colloquial phrasing, and depiction of Italian vitality is "The Costa San Giorgio" (in Trend, November 1914). A legend in his own time for his irreverent assaults on propriety, Cravan had earned passage to New York by taking a fall in a boxing match with his friend black heavyweight champion Jack Johnson in Barcelona, Spain (1916). Ova is in many ways Every-Child, but her story is particularly that of a female child in a "mongrel" family. She has always been able to understand." Loy was also preoccupied in the early 1930s with her unpublished novel, "Insel," a fictionalized account of the life of her friend Richard Oelze, a German surrealist painter. Poe (first published in Dial, October 1921) evokes the chill opulence of the death chambers of another ancestor. Most such recognition came to Mina Loy in the decade 1914-1925; thereafter she gave less attention to poetry and withdrew from the literary scene except for infrequent little magazine publications. It employs the verbal compression and montage structure that were to become characteristic of modernist poetry. She seemed to be seeking among its derelicts a spiritual revelation; certainly she found in them the subjects for her late poems and painting. 12 (1950), one poem in Partisan Review (1952), and seven poems in Between Worlds in the early 1960s. The narrative begins with her father Exodus's Hebraic origins on the Danube and his immigration to England. The observer-poet attends these figures, so it seems, in the hope that from their various quests she herself may glimpse the desired revelation. Socially she and her daughters were at the center of the exciting Parisian artistic milieu of the 1920s. Formally, structurally, and linguistically the poem assimilates Loy's experiments to this point. 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 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.
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