![]() In 1914, the same year her ‘Aphorisms on Futurism’ appeared, she drafted – but never published – her ‘ Feminist Manifesto’, which argued that women had only three options open to them at the time: ‘Parasitism’ (i.e. A fling with a French doctor resulted in a daughter, Joella Loy and Haweis subsequently got back together and had a son, Giles, before settling in Florence in 1907. She studied art in London, Munich, and Paris and married a painter, Stephen Haweis, in 1903 they separated in 1906 after the death of their one-year-old daughter. Loy was born Mina Lowy to a Hungarian Jewish father and an English mother in London in 1882 (she changed her name to ‘Loy’ when she began submitting poetry). This is arguably no clearer than in the case of Mina Loy, whose idiosyncratic approach to traditional punctuation (i.e., just don’t use it) and spacing (use plenty of it) seems to embody what Hélène Cixous has called écriture feminine: a kind of writing which replaces the linear, ‘masculine’ form of traditional prose or poetry with a more cyclical, questioning, open-ended style. But their gender is central to the kind of poetry they produced. You’ll note that the three poets I’ve just named are all women: many modernists left out of the Eliot-Pound tradition were perhaps partly overlooked because of their gender.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |