Welcome to the Mina Loy Links Page.

Manuscript Loy

This site includes links to Loy's manuscripts on file with the Beinecke Rare Book and Manuscript Library at Yale University, selected books by, and criticism about Loy (including the table of contents of the forthcoming Mina Loy: Woman and Poet, edited by Maeera Shreiber and Keith Tuma).

Understand Her Futuristic Motivations

In an upcoming book, author Susan Dunn (whose 1995 dissertation, "Opposed Aesthetics: Mina Loy, Modernism, and the Avant-Garde" was one of the earliest and finest contemporary analyses of Loy's work) examines Loy's links with the artistic aims of "Futurism, Dadaism, and Surrealism." According to Dunn's abstract presented here, Loy employed not only the visual aspects of these movements, but their rhetoric as well.

Futurism Begins Here

The "Futurism Home Page" contains links to many of the artistic manifestos written in the first half of the twentieth century, from the seminal "The Founding and Manifesto of Futurism" (1909) by Loy's lover F.T. Marinetti, to the futurist manifestos of painters, sculptors, musicians, and architects. Also available here are the influential writings of Futurism like Marinetti's "War, The World's Only Hygiene" and Balla's "The Futurist Universe." Futurist art links are also available in this comprehensive and bilingual site.

Dada: Is It Art?

Throughout her life, Loy aligned herself with controversial art movements, from the Futurists, to the Dadaists (who, some claim, were inspired by and under the artistic leadership of Loy's second husband, Arthur Cravan), and even the Surrealists. Experience definitive Dada here.

Review Her

The most comprehensive of all the review pages for the newly-released Mina Loy biography, Carolyn Burke's Becoming Modern: The Life of Mina Loy.

Be A Scholar

Maintained by Loy scholar Susan Dunn, this site contains a list of books written by Loy, as well as a list of selected criticism from 1967 to 1996. Other than Loy's magnum opus, Lunar Baedecker (1923), only one other collection of her work had been published during her lifetime: Lunar Baedeker and Time-Tables (1958). In addition to this site, the following materials may provide fruitful scholarship:

The definitive (and only) biography of Mina Loy. Contains many references to the Futurist and Dadaist artists and artistic movements.

Burke attempts to construct Loy as a "new woman" defining herself through and creating a "new poetry." Burke discusses the Dodge Salon and pays close attention to Loy's "Feminist Manifesto" and "Love Poems" series.

Gunn redefines Loy's "I" in relation to the human body (as opposed to HD's or Moore's) and links her self-consciously and problematically to the tradition of Modernism. His central focus is the quality of poetic "hardness," which he defines as "a quality sought after by the avant-garde poet during the period marked approximately by the years 1910 to 1925."

The Stieglitz and Arensberg Salons are discussed, as well as some attention paid to the Futurists and their (in Loy's opinion) gender-skewed objectives.

Kouidis is probably the most-published contemporary scholar of Loy's work. Since 1973 (the year she wrote her dissertation on Loy entitled "The Cerebral Forager: An Introduction to the Poetry of Mina Loy"), she has continually published pieces in journals. Contains a few references to Futurism, Dadaism, Surrealism. Chapter Two ("The Modernist Vision") begins with the following excerpt from Loy's "Aphorisms on Futurism":

According to Kouidis, the manifestos of Futurism seem to have influenced Loy even more than the actual visual art, which embodied those objectives.

The book claims to have "rescued Loy's key works from the forgotten publications in which they first appeared. The volume includes all of her Futurist and feminist satires, poems from her Paris and New York periods, and the complete cycles of 'Love Songs,' as well as previously unknown texts and detailed notes.

Loy's poetic magnum opus.

Ostriker examines Loy through the scope of female sexuality. She emphasizes Loy's sexual imagery and her linguistic handling of the sociological and artistic "free-love" of the time.

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