Physics and the Modernist Avant-Garde by Rachel Fountain Eames;

Author:Rachel Fountain Eames;
Language: eng
Format: epub
Publisher: Bloomsbury UK

Parts of this chapter have been published as Rachel Fountain Eames, ‘“Snared in an Atomic Mesh”: Transcendent Physics and the Futurist Body in the Work of Mina Loy’, JLS 13, no. 1 (2020), 31–49. Reproduced with thanks to the Journal of Literature and Science editorial team.

1 Mina Loy, The Little Review (May 1929), 46.

2 Sarah Hayden, ‘Introduction’, Insel (Brooklyn, NY: Melville House Publishing, 2014), xxxi.

3 Mina Loy, ‘Tuning in on the Atom Bomb’, Stories and Essays of Mina Loy (Illinois & London: Dalkey Archive Press, 2011), 286.

4 Albert Einstein, Einstein on Politics, ed. David E. Rowe and Robert Schulman (Princeton, NJ: Princeton University Press, 2007), 373.

5 Tara Prescott, Poetic Salvage: Reading Mina Loy (2016), xxvii.

6 Ernest Rutherford, ‘The Scattering of α and β Particles by Matter and the Structure of the Atom’, Philosophical Magazine 6, no. 21 (1911), 669–88; subsequently, Niels Bohr, ‘On the Constitution of Atoms and Molecules’, Philosophical Magazine 26, no. 1 (1913), 3, http://web.ihep.su/dbserv/compas/src/bohr13/eng.pdf [Accessed 27 August 2017].

7 Ibid., 2–3.

8 Ibid., 5–6.

9 Isabella B. Threlkeld, ‘The Emergence of Futurism in Italy: 1900–1916 – The Influence of Science on Art’ (Unpublished MA Thesis, University of Nabraska, 1971), 4.

10 Mina Loy, ‘Songs to Johannes’, The Lost Lunar Baedeker, 58–9.

11 Ibid., 53, 56; Swathi Krishna S. and Srirupa Chatterjee, ‘Mina Loy’s Parturition and L’écriture Féminine’, The Explicator 73, no. 4 (2015), 257; Rachel Blau DuPlessis, ‘“Seismic Orgasm”: Sexual Intercourse, Its Modern Representations and Politics’, Genders, Races, and Religious Cultures in Modern American Poetry 1908–1934 (Oxford: Oxford University Press, 2001), 52, 61; Steve Pinkerton, ‘Blasphemy and the New Woman: Mina Loy’s Profane Communions’, Blasphemous Modernism: The 20th-Century Word Made Flesh (Oxford: Oxford Scholarship Online, 2017); Loy established herself as a working model for the ‘modern woman’ type in an interview of 1917 for the New York Evening Sun, see: Christina Walter, ‘Getting Impersonal: Mina Loy’s Body Politics from “Feminist Manifesto” to Insel’, MFS Modern Fiction Studies 55, no. 4 (Winter 2009), 663.

12 Ellen McWhorter, ‘Body Matters: Mina Loy and the Art of Intuition’, European Journal of American Studies 10, no. 2 (Summer 2015), 3.

13 Linda A. Kinnahan, Poetics of the Feminine: Authority and Literary Tradition in William Carlos Williams, Mina Loy, Denise Levertov, and Kathleen Fraser (Cambridge: Cambridge University Press, 1994), 56.

14 Jacinta Kelly, ‘Purging the Birdcage: The Dissolution of Space in Mina Loy’s Poetry’, Limina 18 (2012), 2.

15 Roger Conover, ‘Introduction’ to Mina Loy, The Lost Lunar Baedeker (Manchester: Carcanet, 1997), xiii.

16 Ibid.

17 For a good overview of the posthumous collection and publication of Loy’s work, see Sara Crangle’s introduction to Mina Loy, Stories and Essays of Mina Loy (Illinois & London: Dalkey Archive Press, 2011). Crangle states that Insel is no longer in print, but it has since been reissued and is available once more: Mina Loy, Insel (Brooklyn, NY: Melville House Publishing, 2014).

18 At this time Loy’s artistic attention had to be shared between her writing, her painting, and her business ventures with the establishment of her lampshade business (1917–30) and later work as a representative for her son-in-law, Julien Levy’s New York Gallery (1931–).

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