This is genuinely exciting to have available; can't wait to see more.

A Baedecker of all of Loy's art exhibitions would be similarly helpful. To the best of my recollection (end of a long day, may be misremembering) there isn't a complete one available. A complete index of inventions, with images, would also be marvellous.

This is great; Baroness Elsa is also a wonderful contributor to a poetics of senescence.

Bio:

Sara Crangle is the editor of Stories and Essays of Mina Loy, and is completing a monograph entitled Mina Loy: Anatomy of a Sacrificial Satirist. She is editing the poetry and prose of the writer and activist Anna Mendelssohn, whose archive she brought to Sussex Special Collections in 2010. Most recently, she completed an article on feminist archives for Douglas Mao's forthcoming essay collection on the New Modernist Studies.

Link to Mendelssohn archive:

https://www.thekeep.info/the-keep-news-evening-talks/anna-mendelssohn/

Link to my university webpage (happy to have posted, if that's the direction things are going:

http://www.sussex.ac.uk/profiles/212701

Should be Professor of Modernism and the Avant-Garde

This is hugely useful and interesting; I've had students close reading this painting since it was first put on line by the project.

This looks set to be a really great resource. It would be so helpful to have a truly replete timeline like this, one that can be added to as people locate/identify further significant events and moments in Loy's life.

Amazing picture: the slit in the dress is so vulvic, yet purely white. Her facial expression is fascinating too: modest, downcast eyes, yet morosely expectant. This picture nicely illustrates what is often said about "Parturition" - it is a poem about a birth in which, excepting its brush against a thigh - there is no baby; the experience is, so curiously (and I think feministly, were that a word) is the birthing woman's alone.

Wonderful link.

Dodge's description is so cold; I have encountered the text in full before, and mistrust her interpretation of Loy's artwork.

But also privileged enough to know better....

Sounds volitional?

A really provocative link - this is a great and generative connection.

I think elsewhere on this site 1917 is given as her date of departure.

This is so interesting, Linda.

Worth quoting from? Could the entirety be posted, as it is only currently available in The Last Lunar Baedecker? It is quite short, so easy to read on-line, etc.

Loy's husband Stephen H owned it; typical for the time, it was never in her name.

Only two editors? Let's give Maeera her due!

Perhaps link this professional, literary critical terminology to something as banal as:

https://en.wikipedia.org/wiki/Close_reading

Intersectional design? Or: feminist first and foremost, but informed by intersectionality?

scholarly arguments?

Might this read the limitlessness of human consciousness? I think of Loy's quote from "History of Religion and Eros", where she describes: "The snap-back of human consciousnessness from the take-off of inspiration: the stretch of consciousness into the imperceptible universe still depending, to some degree, on the contemporary stage of evolution in the concrete world" (SE 245).

These are so great, so various. I think you mentioned that you'll be using them to rethink your theory; quite a prospect....

Could Thurston Moore get his own link/image here? It's great fun that he's written about Loy, and worth foregrounding.

Just FYI: Melissa Gordon is an artist who has interpreted Loy's plays also; she has a publication:

https://www.bookdepository.com/Melissa-Gordon-Material-Evidence-Mina-Loy/9783956790331

I found out about her at:

http://www.thebluecoat.org.uk/events/view/events/3286

There is also the Parataxis edition of poems, Pig Cupid: A homage to Mina Loy, edited by Drew Milne (2000, so perhaps a not-so-new frequency...)

This is a really ambitious idea, and I've read through quite a few of them. They're particularly useful when they build on or extend what we already know from Burke. What is the rationale behind the subject choices here? Some key figures - Duchamp, Stein, Man Ray, Pound, Cornell, Cravan - are not included, suggesting that this will be an ongoing construction. Would it be worth including an explanation of the choices thus far? Otherwise, for the novice Loy reader, there is an implicit suggestion of completion.

But she knew/met Barnes in New York in the twenties?

Wouldn't it be great to have a definitive version of this story? Burke tells it differently, leaving Loy alone on the Mexican coast, unsure of how to proceed.

Something is amiss here, as phrasing suggests that Loy also escaped the draft!

The specific nature of this scandal is unclear, as the problems cited in this paragraph are of a personal, not public, nature.

Is it worth briefly explaining this term as something we might call depression today.

I'm troubled by the term "seduced" which feels both antiquated and inaccurate. If we trust Esau Penfold as a roman-a-clef - and in the main, I do - Loy was in fact date raped by Haweis; she was more fascinated by him than attracted to him, and did not choose to have pre-marital sex with him.

Clunky!

Is it worth stating anything about the later years? There is late correspondence about and by Haweis at Yale (see Mabel Dodge Luhan papers, for instance); in an interview with Burke, Joella states that SH did not keep in touch with her in his later years, although always ensured that the Florence house remained in his name [YCAL MSS 778, Box 2, Folder: “Transcripts, 1978-1981, 1989 [1 of 2 folders]; interview dated 10 Feb 1978].

resistance?

without Loy's knowledge or permission.

Loy also has a piece in Stories and Essays entitled "My Catholick Confidante"; as the notes indicate, this piece was likely written after 1939, and expresses her fascination with/anxiety about the cultural and religious repression of non-procreative sex.

This turn of phrase jars somewhat; it could easily be cut without disrupting the sense of what follows.