Table Of ContentMINA LOY
MINA LOY
A POLOGY
OF GENIUS
MARY ANN CAWS
reaktion books
Published by
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First published 2022
Copyright © Mary Ann Caws 2022
The right of Mary Ann Caws to be identified as Author of this Work has
been asserted by her in accordance with the Copyright, Designs and
Patents Act 1988
All rights reserved
No part of this publication may be reproduced, stored in a retrieval system
or transmitted, in any form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without the prior permission of
the publishers
Printed and bound in India by Replika Press Pvt. Ltd
A catalogue record for this book is available from the British Library
isbn 978 1 78914 554 0
For permission to quote from Mina Loy’s published writings, grateful acknowledgement
is made to Roger Conover, Mina Loy’s editor and literary executor; Farrar, Straus & Giroux;
and the Jargon Press on behalf of the Estate of Mina Loy. For permission to quote from
Mina Loy’s unpublished writings in the Mina Loy papers at the Beinecke Rare Book &
Manuscript Library, the publisher wishes to thank Yale University, Roger Conover and
the Estate of Mina Loy. All writings by Mina Loy © 2021 by The Estate of Mina Loy.
‘Notes from Underground: W. H. Auden on the Lexington Avenue irt’ from DAYS OF
WONDER: New and Selected Poems by Grace Schulman. Copyright © 2002 by Grace Schulman.
Reprinted by permission of Houghton Mifflin Harcourt Publishing Company. All rights
reserved.
Quotations from the letters of Joseph Cornell © 2021 The Joseph and Robert Cornell
Memorial Foundation / Licensed by VaGa at Artists Rights Society (ars), nY.
CONTENTS
Introduction: Why Mina Loy Now? 7
1 London and Munich, 1882–1900 14
2 ‘Parturition’: Paris, Florence, New York, 1900–1916 21
Interval: Futurism 36
3 Diversions, 1914–53 63
4 New York and the Arensberg Circle 76
Interval: Arthur Cravan 90
5 ‘The Widow’s Jazz’: Paris Again 115
6 Insel, 1933–6 122
Interval: Mina Loy the Artist 131
7 New York Again, 1936–53 166
8 Aspen, 1953–66 180
9 Always Ample Space 195
references 199
select biblioGraphY 209
acknowledGements 211
photo acknowledGements 213
index of works bY mina loY 215
General index 218
Mina Loy, c. 1905, portrait photograph by Stephen Haweis.
INTRODUCTION:
WHY MINA LOY NOW?
M
ina Loy the painter and poet was desperately, irre-
trievably and movingly modern. She performed in
her prose, both theoretical and autobiographical, and
her poems, an astonishingly complex mingling of the mental,
the physical and the scientific, the most forward-looking feats
imaginable. Her various forms of art, from the decorative to the
painterly and abstract, spread out over places and genres both
expected and unlikely. All through her life and its ventures, Mina
Loy knew how to craft a singular and object-filled life. She was
in one person a multi-flavourful assortment, a highly colourful
modernist being.
After attending art school for the first time in London, she
moved to another in Munich, and then to Paris, where she and a
friend attended the Académie Colarossi at 10, rue de la Grande
Chaumière, studying under Whistler. In a night class in drawing,
she met the photographer and artist Stephen Haweis, who became
her first husband and the father of a child who died very early on.
Recovering from that loss, Mina was helped by a kindly and elegant
physician, Dr Henri Joël Le Savoureux (delightful name – who
was, alas, engaged to another), with whom she had her daughter
Joella. Stephen was eager to move to Florence; there, in a grand
Mina Loy: apoLogy of genius 8
villa just outside the city in Arcetri, lived the larger-than-life
personality Mabel Dodge, an American hostess on a grand scale,
then patroness of the Armory Show and columnist for the
Hearst organization. Through Mabel Dodge, Mina met the editor
Carl Van Vechten, a more than problematic character who was
constantly helpful to her writings, and Gertrude Stein, about
whom Mina wrote several times. She read a poem about Stein
(originally published in the Transatlantic Review in 1924), calling her
‘Curie/ of the laboratory/ of vocabulary’, at Natalie Barney’s famous
Temple de l’Amitié at 20 rue Jacob.1 The famous and beautiful
lesbian writer presided over this salon in her white dresses with
her golden-blonde hair, a ladykiller supreme. There Mina also
met the painter Frances Simpson Stevens, with whom she enc oun-
tered the Futurists in Florence
and Milan. She rapidly became in-
volved with both the colourful and
stagey Milanese Filippo Tommaso
Marinetti and the more traditional
Florentine Giovanni Papini.
After leaving Florence and her
Futurist life, Mina Loy left for New
York, where her friend Frances
Simpson Stevens helped her settle
and introduced her to the Arens-
berg Circle. In Walter and Louise
Arensberg’s duplex apartment at 3
West 67th Street she was to encoun-
ter the proto-Dada Arthur Cravan,
whom she had seen at the opening
of the Society of Independent Arthur Cravan, c. 1913.
Introduction: Why Mina Loy Now? 9
Artists Exhibition on 18 April 1917 at Grand Central Palace, where
her painting Making Lampshades was exhibited. The next day
Cravan was to lecture there on ‘The Independent Artists of France
and America’, but arrived drunk, thanks to the ministrations of
Picabia and Duchamp preceding the performance. Thereupon
he removed his coat, waistcoat, collar and braces, began to shout
obscenities and was hauled off to a police station.2 On 25 May
Mina and Cravan attended the Blindman’s Ball in Webster Hall,
and the next day he gave a lecture and disrobed, as he had done
previously.
In keeping with his frequent travelling habits, Cravan left New
York, deluging Mina with letters from elsewhere, and then jour-
neyed to Mexico to teach boxing. He wrote from there in December
to beg her to join him, which she did. There they married and
wandered around, poverty-stricken; they planned to escape from
the port Salina Cruz to Argentina, hoping for better times. Mina
was to leave on a passenger ship for Buenos Aires, and Cravan was
trying out a small boat heading for Puerto Angel. But he never
returned to Salina Cruz.3
There are many stories about his mysterious disappearance,
all of which position him as the diametrical opposite of Haweis,
Mina’s first husband. One absolute fact is that he was the nephew
of Oscar Wilde, as whom he liked posing and about whom he
tells a grand and impossible tale of a visit: ‘Oscar Wilde est vivant!’4
Another sure thing is that he was Mina’s passionately adored
lover and second husband, her ‘Colossus’, the father of her
daughter Fabienne, after his birth name: Fabian Lloyd. He was
the editor and author of many parts of the six numbers of the
splendidly peculiar literary review Maintenant, and was himself
a bizarre compilation of boxer, writer, editor and a number of
