The avant-garde artist and writer Mina Loy (1882–1966) published only two books of poetry in her long lifetime: the 1923 Lunar Baedeker and, in 1958, Lunar Baedeker and Time-Tables. Flitting among early-twentieth-century art forms and movements as among domestic ménages and personal tragedies, to us she may seem to slip like a shadow through a Modernist poetic world peopled by more solidly and enduringly visible figures: Wallace Stevens, William Carlos Williams, Marianne Moore, and Ezra Pound.
In the early 1920s, the poet and critic Yvor Winters, already formulating his own vision for a strictly hierarchical poetic canon, set Loy alongside both Stevens and Moore: “I think Mina Loy a genius.” Yet today we hardly know her. Perhaps we should know her better than we do.
It was Pound who coined a word applicable to Loy’s experimental poetics. Logopoeia, one of three “kinds” of poetry as defined by Pound in his Literary Essays, involves, as Pound puts it “the dance of intellect among words.” Lest anybody remind him that he has earlier instructed poets to eschew such abstractions as “dim lands of peace,” Pound hastens to explain what this “dance of intellect” means. It “employs words not only for their direct meaning, but it takes count in a special way of habits of usage. . . . It holds the aesthetic content which is peculiarly the domain of verbal manifestation, and cannot possibly be contained in plastic or in music.”
To get some handle on what Pound might mean by logopoeia and other related “aspects” of poetry, we can turn to Loy’s 1922 poem, “Brancusi’s Golden Bird,” which first appeared in the Dial. An ekphrastic poem, engaging a work of visual art — in this case an abstract sculpture, completed in 1920, by the Romanian-born French artist Constantin Brancusi (1876–1957) — “Brancusi’s Golden Bird” seeks less to describe the sculpture than to accomplish in the medium of language what the sculpture aspires to accomplish “in plastic.”
As Brancusi’s sculpture strips a Romanian folk tale about a golden bird, the Maiastra, to a single fluid, suggestive shape, Loy’s poem, too, consciously rejects layers of poetic tradition, especially the traditional presentation of rhyme and meter as a fixed pattern. These lines are not without metrical sense, but they shift from trimeter to dimeter to single-stressed lines, creating a controlled but undulant surface. Additionally, Loy rejects the closure of punctuation. Emdashes signal breaks and departures of thought, and the poem ends on ellipses, but otherwise the lines hang in seeming suspension on the page, open-ended, as if to suggest the sculpture’s fluid “Alpha and Omega / of Form.”
Brancusi’s sculpture renders a traditional, linear narrative into this three-dimensional form with no beginning and no end, no edges or “extremities / of crest or claw.” Likewise, Loy resists the narrative impulse, beginning her poem with a non-sentence which extends into a metaphor, anchored by that “As if” of the third line. At the same time, the poem does things in language that the Golden Bird can’t fully achieve in its medium. In language, Loy can invoke associations that come to us primarily, if not exclusively, in language: the idea of the Christian God, for example, and the story of the Immaculate Conception and Incarnation — but also Osiris, the Egyptian god of death and rebirth.
The poem doesn’t tell these stories. Its business is not to have, in the traditional sense, a beginning, a middle, and an end. Like the sculpture, it’s not meant to represent the arc of flight, but to be its “nucleus.” It simply folds these allusions, and everything we might connect with them, into its seamless, undifferentiating shape, and holds them there.
Brancusi’s Golden Bird
by Mina Loy
The toy become the aesthetic archetype As if some patient peasant God had rubbed and rubbed the Alpha and Omega of Form into a lump of metal A naked orientation unwinged unplumed — the ultimate rhythm has lopped the extremities of crest and claw From the nucleus of flight The absolute act of art Conformed to continent sculpture — bare as the brow of Osiris — this breast of revelation an incandescent curve licked by chromatic flames in labyrinths of reflections This gong of polished hyperaesthesia shrills with brass as the aggressive light Strikes its significance The immaculate Conception of the inaudible bird occurs in gorgeous reticence . . .
I have nothing to add but my appreciation for it.
I tend to be impatient with early modern art with its lack of recognizable forms, but coupling this abstract sculpture with an abstract poem definitely makes me more appreciative of the extra work of interpretation and the uncovering of meaning involved in works like this.
What a great selection, and I’m adding the word “logo-poetic” to my arsenal. I’m obsessed with fairy tales and their ancient mythic elements, and musing on the golden bird “logo-poetically” adds to the greatness of their meaning. Thank you Sally!