Mina Loy's long narrative poem Anglo-Mongrels and the Rose (1923-25) has been compared by eminent critics to Eliot's The Waste Land, Williams' Paterson, and Crane's The Bridge -- it is a major work of modernism, obscured for too long by Loy's gender and by her unconventional approach to a literary career, but now finally on the verge of recognition by a general audience. L
Mina Loy's long narrative poem Anglo-Mongrels and the Rose (1923-25) has been compared by eminent critics to Eliot's The Waste Land, Williams' Paterson, and Crane's The Bridge -- it is a major work of modernism, obscured for too long by Loy's gender and by her unconventional approach to a literary career, but now finally on the verge of recognition by a general audience. Last year Farrar, Straus and Giroux published both Becoming Modern, a biography of Mina Loy by Carolyn Burke; and The Lost Lunar Baedeker, poems selected and edited by Roger L. Conover, which has sold 4500 copies in hardcover. Roger L. Conover, Loy's literary executor, omitted Loy's major work, Anglo-Mongrels and the Rose from The Lost Lunar Baedeker because, as he explained in his notes to that volume, a page limit forced him to opt for a comprehensive book of shorter poems. Exact Change is therefore very proud to announce the first publication of Anglo-Mongrels and the Rose since 1982, when the Jargon Society printed a small edition that quickly went out of print. Roger L. Conover has decided to mark this republication of Loy's major work with the debut of an important unpublished manuscript: Colossus, Loy's roman a clef describing her affair with dada poet and boxer Arthur Cravan, whose enigmatic disappearance within months of their marriage left Loy haunted for the rest of her life. As Anglo-Mongrels and the Rose presents in elliptical form the autobiographical sources of Loy's art -- a personal history marked by emotional deprivation, sexual war, and exile -- the combination with Colossus makes this truly The Autobiography of Mina Loy. The book also contains previously unknown documents from Conover's extensiveLoy/Cravan archive.
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Loy was born Mina Gertrude Lowy in London, England. On leaving school, she studied painting, first in Munich for two years and then in London, where one of her teachers was Augustus John. She moved to Paris, France with Stephen Haweis who studied with her at the Académie Colarossi. The couple married in 1903. She first used the name Loy in 1904, when she exhibited six watercolor paintings at the S
Loy was born Mina Gertrude Lowy in London, England. On leaving school, she studied painting, first in Munich for two years and then in London, where one of her teachers was Augustus John. She moved to Paris, France with Stephen Haweis who studied with her at the Académie Colarossi. The couple married in 1903. She first used the name Loy in 1904, when she exhibited six watercolor paintings at the Salon d'Automne in Paris.
Loy soon became a regular in the artistic community at Gertrude Stein's salon, where she met many of the leading avant garde artists and writers of the day. She and Stein were to remain lifelong friends.
In 1907, Loy and Haweis moved to Florence, Italy where they lived more or less separate lives, becoming estranged. Loy mixed with the expatriate community and the Futurists, having a sexual relationship with their leader Filippo Marinetti. At this time, she began what would be later known as "Songs to Joannes" [1]", a tour de force of modernist, avant-garde love poetry about Giovanni Papini, another Futurist with whom Loy had an unsuccessful relationship in Florence. She also started to publish her poems in New York magazines, such as Camera Work, Trend, and Rogue. She was a key figure in the group that formed around Others magazine, which also included Man Ray, William Carlos Williams and Marianne Moore. She also became a Christian Scientist during this time.
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