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Mina Loy
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ª½¨ì 1959 ¦~¡A´X¥G³Q²³¤H¿ò§Ñªº¬¥¥ì¤~¦A«×²{¨­¯Ã¬ù¤åÃÀ°é¡A®i¥X¦W¬°¡uºc¿v¡v (“Constructions”) ªº¤@¨t¦C¸Ë¸m§@«~¡C¦o¦b¥@ªº®É­Ô©Ò¥Xª©ªº²Ä¤G¥»¸Ö¶°¡m¤ë¤§®È¦æ«ü«n»P®É¶¡ªí¡n (Lunar Baedecker & Time-Tables) ¤]©ó 1958 ¦~°Ý¥@¡C±µªñ¿ð¼Ç¤§¦~ªº¬¥¥ì¡A¯}¨ÒÅý¤H¶i¦æ±Ä³X¡A¯d¤U¤F¦o°ß¤@ªºÁn­µ»P³X½Í¬ö¿ý¡AÀH«á¦b¦o¤H¥Íªº²Ä¤K¤Q¥|­Ó¦~ÀY¡A¦º©óªÍª¢¡CÁöµM®É¦Ü¤µ¤é¡A¬¥¥ì¨Ì¬O¤@­Ó²{¥N­^¬ü¤å¾Ç¥v¤W­¯¥Í¦ÓÃä½tªº¦W¦r¡A¦ý¬O¼ö°J­«·s´£­Ò¦o¸Ö§@¯à¨£«×ªº¤å¤H§@®a±q¨Ó¨S¦³¶¡Â_¹L¡C¥|¹s¦~¥N¦³¸Ö¤H Kenneth Rexroth ªº¤j¤O±À±R¡F¤­¹s¦~¥N Jonathan Williams ½s¿èµo¦æ¡m¤ë¤§®È¦æ«ü«n»P®É¶¡ªí¡n¤]¦¨¬°¤@®Éªº¨Î¸Ü¡F¤K¹s¦~¥N Virginia Kouidis ¼¶¼g¤F¬¥¥ì²Ä¤@¥»ªºµû½×©Ê¶Ç°O¡F¦Ó¤E¹s¦~¥N Carolyn Burke ÅkµM¦¨¬°¬ã¨s¬¥¥ìªº±M®a¡A³°Äò¦b¤å¾Ç´Á¥Zµoªí¤F¦h½gÃö©ó¬¥¥ì¸Ö§@ªº¤å³¹¡A¨Ã©ó 1996 ¦~¥Xª©¬¥¥ìªº¥¿¦¡¶Ç°O¡m¦¨´N²{¥N¡GÌÉ®R¡E¬¥¥ìªº¤@¥Í¡n (Becoming Modern: The Life of Mina Loy) ¡A¦P¦~¬¥¥ì³Ì·sª©ªº¸Ö¿ï¡m¥¢¸¨ªº¤ë¤§®È¦æ«ü«n¡n (The Lost Lunar Baedeker) ¤]¦b Roger Conover ªº½s¿è¤U°Ý¥@¡F¦Ó²Ä¤@¥»ªº¬¥¥ìµû½×¿ï¶°¡mÌÉ®R¡E¬¥¥ì¡G¤k©Ê©M¸Ö¤H¡n (Mina Loy: Woman and Poet) §ó©ó 1998 ¦~¥Xª©¡A¦¬¿ý¤F¬Ã¶Qªº³X½Í¦r½Z¥H¤Î·¥¬°§¹¾ãªº¬ã¨s®Ñ¥Ø¡C

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Conover, Roger L. Introduction. The Lost The Lost Lunar Baedeker. Ed. Roger L. Conover. New York : Harper, 1996. xi - xx.

Pound, Ezra. “Marianne Moore and Mina Loy.” Selected Prose: 1909-1965. New York : New Directions, 1873.

Schulte, Raphael. “Faces of the skies: Ekphrastic Poetics of Mina Loy's Late Poems.” Fu Jen English Literature Databank. September 12, 2005. <http://www.eng.fju.edu.tw/iacd_2003F/g_am_poetry/loy/Face%20of%20the%

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Burke, Caroline. Becoming Modern: The Life of Mina Loy. Berkeley : U of California P, 1996

Hanscombe, Gillian and Virgina L. Smyers. “Mina Loy's Life” Writing for Their Lives: The Modernist Women 1910-1940. Boston : Northeastern UP, 1987. 112-128.

Koudis, M. Virgina. Mina Loy: American Modernist Poet. Baton Rouge : Louisiana

State UP, 1980.

---. Biography. American National Biography Online. March 21, 2001.

< http://www.anb.org/articles/16/16-02125.html >

Loy, Mina. The Lost Lunar Baedeker. Ed. Roger L. Conover. New York : Farrar, Straus and Giroux, 1996.

Shreiber, Maeera and Keith Tuma. Introduction. Mina Loy: Woman and Poet. Ed. Maeera Shreiber and Keith Tuma. Orono , ME : National Poetry Foundation, 1998. 11-16.

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Mina Loy
Carol Lin/ªL¨ÌÁ¨
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 Early life and artistic background
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Mina Loy (1882-1966), a lifelong poet and visual artist, was born in London , England , of a Hungarian Jewish father and an English Protestant mother. Her repressed childhood in this mixed marriage became the source of her ambivalent attitude towards race purity and her rebellion against late-Victorian gender definitions. The long semi-autobiographical satire, ¡§Anglo-Mongrels and the Rose¡¨ (1925) touches the issues of gender and genre expectations, and her prose poems such as ¡§Aphorisms on Futurism¡¨ (1914) and ¡§Feminist Manifesto¡¨ (1914) reveal her entangled ideas of masculine power and feminine potential. During her eighty-four-year lifetime, Loy traveled as a cosmopolitan, an expatriate artist who participated in most of the major art movements of the first half of the twentieth century¡XCubism, Futurism, Dadaism, and Surrealism¡Xand lived in London, Paris, Vienna, Munich, Berlin, Florence, Mexico City, and New York City, among other places. With this heterogeneous background, she was able to integrate and restructure different artistic concepts and cultural experiences into her creative efforts. She dedicated poems to her fellow artists, who used their various arts to expand human consciousness: ¡§Apology of Genius¡¨ (1922), ¡§Brancusi's Golden Bird¡¨ (1922), ¡§Joyce's Ulysses¡¨ (unknown), ¡§'The Starry Sky' of WYNDHAM LEWIS¡¨ (unknown) and ¡§Gertrude Stein¡¨ (1924).

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 Turning points and the American connection
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¡@ By the time she sailed for New York in 1916, Loy's reputation as a free-verse radical had preceded her arrival with the first four poems of ¡§Songs to Joannes¡¨ (1917) appearing in the 1915 issue of Others: A Magazine of the New Verse. In this disillusioned love sequence, she tried to subvert both Victorian and Futurist ideas of sex and the body, questioning what it means for a woman to desire but then be excluded from bodily pleasure and expression. Alfred Kreymborg, the founder and editor of Others , commented on Loy's impact on American readers years after the publication: ¡§In an unsophisticated land, such sophistry, clinical frankness, sardonic conclusions, wedded to a madly elliptical style scornful of the regulation grammar, syntax and punctuation¡Khorrified our gentry and drove our critics into furious despair¡¨ (qtd. in Burke 196). Perhaps that is why though once being crowned the ¡§Belle of the American Poetry Ball,¡¨ Mina Loy and her poetry have been in eclipse until recently, for its obscurity and her marginal position as a woman writer. Or perhaps, it is Loy's own wish to remain distant: ¡§But it is necessary to stay very unknown,¡¨ she wrote ¡¨To maintain my incognito, the hazard I chose was¡Xpoet¡¨ (qtd. in Conover xii ). There is always a persistent ¡§propensity¡¨ for otherworldliness in her art that may eventually cause the neglect of her works. After the meteoric career in the 1920s, with the sudden disappearance of her second husband, the Dadaist-boxer Arthur Craven, Loy faded from the vigorous American poetry scene, first opened a lampshade business in Paris and then immersed herself later in the reclusive but creative life in Aspen , Colorado , making collages from street objects and writing a more visionary poetry.

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 Literary reception then and now
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¡@ Ezra Pound described the poetry of Loy and Marianne Moore as ¡§logopoepia,¡¨ ¡§the dance of the intellect among words¡¨ ( Selected Prose 394-5), and asked Moore in a letter ¡§¡Kis there anyone except you, Bill [William Carlos Williams] and Mina Loy who can write anything of interest in verse¡¨ ( Selected Letters 168). In the Prologue to Kora in Hell (1920), Williams also designated Loy and Moore as the South and North poles of the modern poetry landscape. Though now an almost forgotten modernist poet, Mina Loy and her poetry still find their way to ignite new waves of rediscovery, signaled by Kenneth Rexroth's advocacy in the 40s, Jonathan Williams' publication of Lunar Baedeker and Time-Tables in the 50s , and the first book on Loy's life and works by Virginia M. Kouidis, Mina Loy: American Modernist Poet , in the 80s. Recent publications include the definitive biography by Carolyn Burke and the scholarly edition of Loy's selected poems The Lost Lunar Baedeker in 1996, followed by the 1998 collection of critical essays Mina Loy: Woman and Poet , edited by Maeera Shreiber and Keith Tuma. Just as Roger Conover noted in his introduction to The Lost Lunar Baedeker , Loy's poetry, her startling lunar baedeker, remains an ¡§indispensable¡¨ and ¡§disturbing¡¨ guidebook on our way marching toward the twenty-first century ( xx ), and has continued as well in feminist challenges to the high modernist canon.

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 Late poetry
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¡@ Loy didn't reappear in public until the 1959 exhibition of her ¡§Constructions¡¨ at New York 's Bodley Gallery. Raphael Schulte in his unpublished essay ¡§¡¥Faces of the Skies': Ekphrastic Poetics of Mina Loy's Late Poems¡¨ observes with great precision how Loy's poetry, especially from the late period, explores multilinear spaces by writing a poetics of both abundance and lack: ¡§These late poems¡Koffer a poetics of absence that evokes a mystical and spiritual presence, that is a visionary poetics evoking silent spaces beyond body and beyond language¡¨ (3). One can sense these distinguishing characteristics in her late works such as ¡§On Third Avenue¡¨(1942), ¡§Property of Pigeons¡¨ (unknown), ¡§Letters of the Unliving¡¨ (1949), ¡§Hot Cross Bum¡¨ (1949) ¡§An Aged Woman¡¨ (unknown) and ¡§Moreover, the Moon ¢w¢w¢w ¡¨ (unknown). While taking leave of the rising and flourishing modern world and its numerous movements, Loy, through her late art and poetry that are closer to the bottom layer of human life, reached a reality that seems insignificantly personal and trivial, but is in fact visionary and transcendental.

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Works Cited
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Burke, Caroline. Becoming Modern: The Life of Mina Loy. Berkeley: U of California P, 1996

Conover, Roger L. Introduction. The Lost The Lost Lunar Baedeker. Ed. Roger L. Conover. New York: Harper, 1996. xi - xx.

Pound, Ezra. ¡§Marianne Moore and Mina Loy.¡¨ Selected Prose: 1909-1965. New York: New Directions, 1873.

---. Selected Letters of Ezra Pound and Louis Zukofsky. New York: New Direction, 1987.

Schulte, Raphael. ¡§Faces of the skies: Ekphrastic Poetics of Mina Loy's Late Poems.¡¨ Fu Jen English Literature Databank. September 12, 2005.

< http://www.eng.fju.edu.tw/iacd_ 2003F /g_am_poetry/loy/Face%20of%20the%20skies.pdf >
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Reference
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Hanscombe, Gillian and Virgina L. Smyers. ¡§Mina Loy's Life¡¨ Writing for Their Lives: The Modernist Women 1910-1940. Boston: Northeastern UP, 1987. 112-128.

Koudis, M. Virgina. Mina Loy: American Modernist Poet. Baton Rouge: Louisiana

State UP, 1980.

---. Biography. American National Biography Online. March 21, 2001.

< http://www.anb.org/articles/16/16-02125.html >

Loy, Mina. The Lost Lunar Baedeker. Ed. Roger L. Conover. New York: Farrar, Straus and Giroux, 1996.

Shreiber, Maeera and Keith Tuma. Introduction. Mina Loy: Woman and Poet. Ed. Maeera Shreiber and Keith Tuma. Orono , ME: National Poetry Foundation, 1998. 11-16.

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