in which she was to be included

under Ford’s direction

the initial

hus, “Ford was to feel equally at home—and equally in exile—all over Europe and America” (Saunders 18).

The Modernist Era was distinguishable for its incestuous artistic circle of authors, painters, musicians, and the like, but few artists were born into the circle as Ford Madox Ford was in December of 1873—the son of Francis Hueffer, a German music critic, and Catherine Madox Brown, an English painter, pianist, and model; thus much of Ford’s literary success unarguably stemmed from his upbringing.

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.

y

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

interactions

are

Yet, the frequency, nature, and depth of Pound’s interaction with Mina Loy remains ambiguous.

Peters

Finally, and most surprisingly, Peters notes the marked similarities in word choice and vocabulary between Pound’s Hugh Selwyn Mauberley and Loy’s work as hints that Pound truly admired–and perhaps at times even strove to emulate–Loy’s abstract, emotionless writing style.

as hints that Pound truly admired–and perhaps at times even strove to emulate–Loy’s abstract, emotionless writing style.

erse?”

points to the contrary

Pound famously coined the term logopoiea–defined as “a dance of the intelligence among words and ideas and modification of ideas and characters”–to describe Loy’s writing.

wherein the eminent Pound was a mentor or role model to the relatively obscure Loy

one-way one

Wilmer states that Pound is frequently misunderstood: “If Pound is obscure, it is largely because of his wide frame of reference; he was also an educator, who used poetry to introduce his readers to works and ideas he had discovered for himself. It is hardly his fault that his syllabus has never been adopted” (Wimer).

Pound remains a divisive figure today. His brilliance as a poet, translator, and thinker are countered by his anti-American rhetoric and association with fascism, resulting in his imprisonment and fall from grace. Loy recalled that Pound “was like a child, and an old professor at the same time” and that he “was a sensitive man who didn’t think other people were sensitive.” Wilmer states that Pound is frequently misunderstood: “If Pound is obscure, it is largely because of his wide frame of reference; he was also an educator, who used poetry to introduce his readers to works and ideas he had discovered for himself. It is hardly his fault that his syllabus has never been adopted” (Wimer). Following his institutionalization,, Pound returned to Venice and stopped writing. He died in Venice on November 1, 1972. His legacy is vast; Pound is widely considered the father of imagism and recognized for his work in both the imagist and modernist sphere

,,

If Pound is obscure, it is largely because of his wide frame of reference; he was also an educator, who used poetry to introduce his readers to works and ideas he had discovered for himself. It is hardly his fault that his syllabus has never been adopted”

“was like a child, and an old professor at the same time” and that he “was a sensitive man who didn’t think other people were sensitive.

His brilliance as a poet, translator, and thinker are countered by his anti-American rhetoric and association with fascism, resulting in his imprisonment and fall from grace.

Deemed insane, he spent 1946 to 1958

He became an anti-war advocate, making several hundred broadcasts airing his political stances, many of which were anti-semitic and pro-fascism, in addition to explicitly critical of the United States’ war effort.

began to become

In Paris, Pound developed a relationship with the young Ernest Hemingway, wrote an opera (which Mina Loy attended), and collaborated with T.S. Eliot in the editing of the latter’s famous poem “The Waste Land.”

Paris, and the impact

the landscape of England, and the course of Pound’s career.

His poetry focused on concrete, succinct language.

His most famous work, “In a Station of the Metro,” was written in 1913. From 1912 to 1914, he also launched the Imagist movement, producing the first imagist manifesto.

arrived

and soon published numerous collections of poetry and became an influential contributor to the New Freewoman/Egoist, Poetry, Others, The Little Review, and numerous other literary magazines.

but traveled to both London in his twenties.

University of Pennsylvania.

behind the literary movement.

“To speak of the modern movement is to speak of [Ezra Pound]; the masterly impresario of modern poets, for without the discoveries he made with his poet’s instinct for poetry, this modern movement would still be rather a nebula than the constellation it has become” (Loy 157-8).

military conflict capturing troops or a leader do not necessarily mean victory

no two games are the same

first time player

Chinese strategy

It is interesting to see the debate between animal rights and animal welfare issues.

here are federal regulations and then there are local regulation on top of those that require an additional inspection of safety practices.

When it comes to digital story telling I have a hard time stepping outside of it having to be a video production of sorts. I know this to be wrong of me but I continue to go back to videos. So seeing a blog as a digital story is quite intriguing.

I struggled with was having those who comment be considered co-authors.

I am not the only one that struggles

I gained some familiarity with some terms such as autoethnographic and hypertext

In other words, annotate this text right here with your creative media!

For the women who had run to the fire escape, the route down was terrifying. The landings and sloping stairs were wide enough for only one woman at a time. The fire escape ended over a basement skylight in an airshaft enclosed on all sides by the three buildings that occupied the city block. Realizing this, one woman opened the sixth floor shutters and broke through the window. Women followed her lead and ran to the stairwell on that floor only to find the doors locked. But they were the lucky ones. They were later rescued by a police officer who heard them pounding on the door. The fire escape soon collapsed taking dozens of women with it.