Fraser’s work in poetry has received much recognition. Her honors and awards include the New School’s Frank O’Hara Poetry Prize (1964) and the American Academy’s Discovery Award (1964), as well as a fellowship from the National Endowment for the Arts (1971, 1978) and a Guggenheim Fellowship (1981). Working with primarily small press publications, Fraser has published more than fifteen books, including mixed-genre collections, a chapbook of collaged wall pieces, and an essay collection.   Her published works include twelve volumes of poems and two children’s books: What I Want (1974), New Shoes (1978), Magritte Series (1977), Each Next: narratives (1980), Something (even human voices) in the foreground, a lake (1984), Notes Preceding Trust (1987), when new time folds up (1993), WING (1995), il cuore : the heart—Selected Poems 1970–1995 (1997), Translating the Unspeakable (2000), and Discrete Categories Forced into Coupling (2004).   Fraser now splits her time between San Francisco and Rome where she lives with her husband, the philosopher/playwright Arthur Bierman. She lectures and gives readings at a number of Italian universities and has translated Lampi e acqua, a book-length serial poem by Maria Obino (excerpts published in AVEC), and a selection of poems by Toni Maraini, Daniela Attanasi, Sara Zanghi and Giovanna Sandri (published in Thirteenth Moon, “Italian Women Writers” issue).  

on of

Fraser is inspired by Mina Loy, as well as other modernist women writers, questioning why the poetics of female voices and experiences have been marginalized and excluded from academic research and public realms. In an effort to recover the voices of American-women writers, Fraser, from 1983-1991, published, edited, and contributed to magazines entitled, HOW(ever), and later, HOW2. These magazines focus on innovative writing by contemporary women poets and writers and those culturally-abandoned texts by Anglo/American modernist women writers. Now online, these recovered collections include pieces from many contemporary authors (Rachel Blau DuPlessis, Denise Levertov), who bring to the forefront the importance of these absent modernist women’s voices in contemporary literature and culture.

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But as Dodge shaped her life in New York with increasing independence, she formed an image of herself distinct from those of the artists who attended her salon. In 1913, she proposed the idea for and helped organize the Patterson Strike Pageant. That year Dodge also promoted the Armory Show, where Stein’s poem, “Portrait of Mabel Dodge at Villa Curonia,” first appeared. After the Armory show, Gertrude Stein finally won recognition in America, and everyone in New York asked who Mabel Dodge was. People looked at her, not just at her guests.[6] In 1915, Dodge and journalist John Reed, who she met while organizing the Patterson Strike Pageant, became engaged. When Reed traveled to cover the Great War, Dodge met and began an affair with Maurice Sterne and lived with him in Croton-on-Hudson, New York. When Reed returned, Dodge offered him a bedroom and a writing studio. The three lived together for a few days until Reed moved out, ending his relationship with Dodge. She married Sterne in August 1917, and as she entered her third marriage, she adjusted her feminism: “For the mature woman, there is no father,” she wrote. “There is no master. There is only herself, free and alone.”[7] Dodge and Sterne spent most of their marriage apart, traveling between New York City and Croton at different times until, briefly after their honeymoon, Dodge eventually sent Sterne to New Mexico for fear that he was looking at other women. In November of 1917, Sterne called Dodge to meet him out west: “Dearest girl—Do you want an object in life? Save the Indians, their art—their culture—reveal it to the world!”[8] When they divorced in 1922, Sterne returned to the east coast, leaving Dodge in Taos, New Mexico. In 1923, she married Antonio (Tony) Luhan, a Native American who courted her before her divorce from Sterne.

certain

As social entanglements, her presence at the center of the artists’ lives, and her boredom with Edwin took a toll on Dodge, she had a string of affairs and attempted suicide twice.

Arcetri,

Dodge made her début in Buffalo and, after attending an Episcopal girls school in Buffalo, another in New York City, and a finishing school in Washington, D.C., she married Karl Evans at age 21.

début

Dodg

Victorian, emotionally reserved and socially elite parents,

Mabel Dodge hosted three modernist salons—in Florence, New York City, and Taos, New Mexico—presiding over her guests as a friend and an intellectual provocateur. After standing at the center of these three salons, Dodge turned to memoir, forming the life she curated into her own art.

Their social and artistic values kept them circling around each other in so many historical pages that it’s difficult to believe their relationship didn’t go beyond a mere photograph.

would not have gone unnoticed by

Breton wrote to him so much exhorting him to move to Paris and join the fight there, that by the time Tzara arrived, he was treated like some sort of savior.

particular

All of these are people Loy would have known, or at the very least known of, and would have been in some form of contact with.

their

,

surrealist movement

avant garde movement

movement