Cravan, who was to follow shortly, disappeared mysteriously; his body was never recovered. Loy returned to Italy for two years and then settled with her two daughters (her son Giles had been kidnapped by her former husband and was to die soon thereafter) in Paris, where she lived from 1923 to 1936.Her long poem "Anglo-Mongrels and the Rose" and her unfinished novel date from this period., 14 essays by Marjorie Perloff, published by Northwestern University Press in 1998.You can read Paul Quinn's review of this book in Jacket # 12. This book is subsequently cited in the text as LLB.The de-particularization of "Exodus," as of "English Rose" in the next section, and of "Ova" (Mina Loy herself), "Esau Penfold" (Stephen Haweis), and "Colossus" (Arthur Cravan), is symptomatic of Loy's larger metaphysical perspective.Whereas Marinetti (and the Imagists as well) put his faith in objects, lining up catalogs of concrete nouns () and onomatopoeic sounds ("zang- tumb- tuum," "ta- ta- ta- ta") for their immediate presentational value, Loy is a satirist, a diagnostician who is willing to regard her very own parents as nasty stereotypes, representative of a late Victorian imperialist England in which the outsider, especially an Eastern European Jewish outsider ("Exodus") could only gain a foothold by marrying an "English Rose,", no matter how great the mismatch.For here, in this allegorical, parodic, often disjointed pseudo-narrative of the poet's ancestry, birth, childhood, and coming of age, we have Loy's most compelling representation of her "mongrelization" -- the "crossbreeding" of the English and Hungarian-Jewish strains that produced, so the author herself seems to feel, a form of mental and emotional gridlock that could be overcome, in life as in art, only by large doses of the transnational avant-gardism of the interwar period. In my citations, I reproduce the spacing of the original: for the passage cited here, see The sunlight in a yellow plaque upon the varnished floor is full of a song inflated to fifty pounds pressure at the faucet of June that rings the triangle of the air pulling at the anemones in Persephone's cow pasture -- Williams's verse is at once "free" (the lines range from three to seven syllables and from two to four primary stresses) and yet highly structured.
In these later American years, she published very little and all but disappeared from sight.Indeed, Loy's is not so much "free verse," in the usual sense of the term, as it is a variant on (so named for the Tudor poet John Skelton), that is, "a distinctive shortlined meter [in which] typically the lines carry only 2-3 stresses in 3-6 syllables (though longer lines are not uncommon), and there are frequent short runs of monorhyme called 'leashes' [and] parallelism is a major rhetorical device." (See note 12.) , ed Alex Preminger and T. "Every noun," he declared, "should have its double; that is the noun should be followed, with no conjunction, by the noun to which it is related by analogy.Example: man-torpedo-boat, woman-gulf, crowd-surf, piazza-funnel, door-faucet." At the same time "One must abolish the adjective, to allow the naked noun to preserve its essential color," and again "One must abolish the adverb, old belt buckle that holds two words together." A sequence of naked nouns, tactile, concrete, imagistic, and often, as in -- and they are modified by adjectives that often overwhelm (and even contradict) her nouns as in "the senile juvenile / calculating prodigies," or in "coveting the alien / asylum of voluntary military service." Not (LLB 113) Here is Loy's version of late Victorian London, with its alien devouring Deity presiding over the sordid nighttime couplings ("bare prostrations") in the "unblessed beds" of the dreary mass metropolis."During the war," we read in Kreymborg, a "curious woman, exotic and beautiful, came to New York from foreign shores: the English Jewess, Mina Loy, [whose] clinical frankness and sardonic conclusions, wedded to a madly elliptical style scornful of the regulation grammar, syntax, and punctuation, horrified our gentry and drove our critics into furious despair." Her work as well as her personality, Kreymborg reports, "created a violent sensation." (See note 7.) But in what sense, if any, is the "elliptical style" of this "English Jewess," who spent so little time in America before her fifty-fourth year, identifiable as "American," especially since, overtly, it has little in common with the "American" styles (and settings) of such of her contemporaries as Stevens and Williams? If it is bitter and dissatisfied, it is at least passionate. She is tough, forthright, very witty, atypical, anti-rhetorical, devoid of chi-chi." (See note 9.) Now consider the opening section of "Anglo-Mongrels and the Rose" called "Exodus," in which the impersonal narrator tells the tale (in the present-tense and in swift, cartoonish strokes) of her father's childhood in "Buda Pest," his coming to the "cancellated desert of the metropolis" which is Victorian London, his youthful employment as "highest paid tailor's / cutter in the City," his lonely boarding-house life and sexual fantasies, and his, to her mind, ill-fated meeting with the "English Rose" who is to be Loy's despised Protestant, virginal, bourgeois, cold and prudish mother.To answer this question, I propose to examine Loy's remarkable long (and still almost unknown) poem "Anglo-Mongrels and the Rose" (1923-25). Here is a passage about fifty lines into the narrative: The arid gravid intellect of Jewish ancestors the senile juvenile calculating prodigies of Jehovah crushed by the Occident ox they scraped the gold gold golden muck from its hoofs moves Exodus to emigrate coveting the alien asylum of voluntary military service paradise of the pound-sterling where the domestic Jew in lieu of knouts is lashed with tongues 10. Conover normalizes Loys dramatic spacing and omits her dashes, hyphens and other special punctuation devices.