Colorado's First Poet

There’s no question that there’s a definite stylistic thread that weaves the Imagist movement together- the works of Amy Lowell, Hilda Doolittle (my favorite), and James Joyce, for example, all bare an uncanny similarity of intensity and radical use of imagery.

Some of the poems I’ve read by poets like this have literally left me staggering in awe- moved to passion, as it were, by a realm of imagination human minds seem to seldom touch. I don’t exaggerate when I say that that kind of poetry carries within itself the very potency that’s at the seat and center of every form of art known- sometimes it’s too overwhelming.

Mina Loy (1882 – 1966), who is said to be Colorado's first official poet, was heavily influenced by the Imagist movement, and all of her works bare the signature of that movement’s style. Although she wasn’t exclusively a poet (indeed, toward the end of her life she denied she ever was) the few works that she produced were very important contributions to poetry and the history thereof. 

Her poems are short blasts of intense imagery skillfully consolidated in a handful of lines- lines that almost at times seem possessed by some remote mystical state verging on madness. With that said, I will admit that she loses me sometimes, with lines like ... 

Dilation has entirely dominated
your long reality
 
 ... but still, her mesmerizing style, like Roethke, ceaselessly draws me back. If you haven't come across her verse, or haven't read Imagist poetry, you should check out some of her works. Here’s one below, a poem which rages against that ruthless deterioration culminating in our inevitable ending ... aging:


An Old Woman

The past has come apart
events are vagueing
the future is a seedless pod
the present pain.

Not even pain has that precision
with which it struck youth.

Years like moths
erode internal organs
hanging or falling
in a spoiled closet.

Does you mirror bedevil you?
Or is the impossible
possible to senility?

How could the erstwhile
agile and slim self--
that narrow silhouette--
come to contain
this huge incognito--
this bulbous stranger--
only to be exorcised by death?

Dilation has entirely dominated
your long reality.

Mina Loy*

Mina Loy (1882 – 1966)

In 1921 Ezra Pound wrote to Marianne Moore: "... is there anyone in America except you, Bill [William Carlos Williams] and Mina Loy who can write anything of interest in verse?" But for decades, the avant-garde poet Mina Loy was virtually invisible next to many of her fellow modernists. While she makes colorful appearances in the biographies of many other writers and artists, including those of Djuna Barnes, Marcel Duchamp, Ernest Hemingway, James Joyce, Marianne Moore, and Gertrude Stein, Mina Loy had no biography of her own until 1996, when Becoming Modern: The Life of Mina Loy (by Carolyn Burke, Farrar, Straus & Giroux, 1996) was released along with a new edition of her poems, The Lost Lunar Baedeker.

Mina Loy was born in London on December 27, 1882. She attended a conservative art school and was influenced early on by Impressionism. She achieved some success as a painter, and her paintings were included in the prestigious Salon d'Automne show in Paris, 1905. After several years in the heart of Parisian literary and arts society, Loy moved to the United States in 1916, although her reputation preceded her. While hailed as representing the New Woman and the last word in modern verse, Loy's poetry disturbed a few of her more conservative contemporaries. Marianne Moore found herself uneasy in Loy's company, and Amy Lowell was so incensed by the publication of Loy's "Love Songs" in Others magazine that she refused to submit any more work to the periodical. Conrad Aiken encouraged readers to "pass lightly over the . . . tentacular quiverings of Mina Loy," and John Collier cited Loy's verse as an example of "the need for objective standards." Still, Loy had many admirers, among them William Carlos Williams, Marcel Duchamp, and the members of the New York Dada group--including the poet/boxer Arthur Cravan, whom she married in 1918. In 1921, Pound extolled the virtues of her work to his closest friends, and in 1926, Yvor Winters compared her to Emily Dickinson.

Also an artist, Loy has been labelled a Futurist, Dadaist, Surrealist, feminist, conceptualist, modernist, and post-modernist. Experimenting with media in her artwork, she moved from oil to ink by World War I, then lighting fixtures in the late 1920s, and finally to sculptures featuring items collected from the streets and garbage cans of Manhattan. She allied herself with her visual art more than her writing, claiming at the end of her life that she "never was a poet."

Loy became reclusive in her later years, and lacked any interest in building a reputation for herself. Mina Loy died September 29, 1966, in Aspen, Colorado, leaving behind an unfinished biography of Isadora Duncan and an unpublished collection of poems she had written during the 1940s.

*Biography from Poets.org