“the spasimal larva” was “the spasmodic. He”
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“So he absolves” was “He absolves”
“seventh heaven with” was “seventh with”
“on shrugging at” was “when he looking up”—“at” is unclear and may be “off”—ed.
“to scrubby-looking” was “to ugly scrubby-looking men the flesh shrinks from”
“nearest to defining” was “nearest to explore”
“psychic experiences” was “psychic introspection”
After “only book” was “(a censored book — that has given the flesh” “the flesh with a” reads “the flesh a”—ed.
“or the virile male” was “or made the virile male”
“returns to” was “resorts to”
“derive no satisfaction” was “find no compensation for”
“novels, attempting to” was “novels to”
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“The primary phenomenon” was “The first phenomenon”
“male as regards his intimate relation with the female” was “male as regards the female”
“relation with the female” reads “relation the female”—ed.
“spoken a word” was “made a sign”
“best cantharide” was “best natural cantharide”
“depth of — is disgust” was “depth of — reason”
“maiden’s lack” was “maiden’s unr”
“response to satisfy” reads “response satisfy”—ed.
“revivifying” was “healthy”
“may we ask” was “may we asked”
“authors live?” was “authors life?”
“daily life?” was “daily life where the”
“nunnery — ” reads “nunnery. — ”—ed.
“apologetic man” was “apologetic type”
“heroes of Aldous Huxley” was “heroes of (chrome yellow man)”
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“erotic discomfort” was “social discomfort”
“ ‘themselves go’ ” was “ ‘theirself go’ ”
“Also, in the soggy” was “Also, the soggy”
“of T.S. Eliot is embedded” was “of T.S. Eliot’s poetry”—“T.S.” was “W”
Next to the material on Eliot, along the margin, Loy writes: “The Case of Cupid and Cupid versus Venus and Venus.”—ed.
The sentence beginning “Mr. Eliot has observed” reads “Mr. Eliot has observed the typist with the same disrespectfully acute ray of observation that turning on classism and pessimism alike, — with which he observed her combinations drying on the roof.”—ed.
“a uniform” was “an equal”
“Practically the whole” was “The whole”
“psychological literature written by men might” was “psychologi-cal literature might”
“The episode of” was “The scene of”
“Exceptionally there is” was “There is”
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“also monuments to” was “also those monumental traditional monuments”
“in the sense” was “in the French sense”
“for instance: the” reads “for instance, The”—ed.
“become fictitious” was “become tradition”
“should he omit. . desert him—” is a later addition
“a literary monument” was “a monument”
“And there is no. . de joie” is a later addition
“the chambers of ‘joy’ ” was “the amorous chamber”
“everybody that is” was “everybody has”
“Debrett’s” is unclear—ed.
“her inevitable point of view” was “her point of view”
“disease, being threatened into supporting” was “disease, supporting”
Under “a maquereau” reads “a man”—ed.
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“night life of the metropolis” was “night life another”
“to notice—” reads “to notice—.”—ed.
“When he comes to himself” was “Rest assured that when he comes to himself”
“he has erotically administered” was “he has administered”
“fille de joie” reads “ ‘fille de joie’ ”—ed.
After “fille de joie” was the heading “Sphinxes in Tête à tête.”
“Alas the exercise” was “Alas exercise”
“blown off does not” was “blown off will”
After “does not” and largely crossed through is the beginning of the next instalment in Loy’s “The Library of the Sphinx.” It reads as follows:
Sphinxes in Tête à tête.
The irate husband ordered her to “go [to the doctor] and find out what is the matter with you—”
Doctor — — I do not enjoy the er marital — er — — The doctor.
No nice woman, my dear lady ever enjoys it.
Blessed is the peace-maker. For he does the best he can. The fast married woman that horrified the hotel—“[I have many lovers — although] I cannot enjoy ‘it’—you see, it gives me inflammation of the womb — — yet I have so many lovers because — I don’t know why—
But I adore to see them taking off their boots — or something — –
The German baroness—
I feel nothing at all — during that time I think of what I shall order for next day’s dinner.
THE LOGOS IN ART.
(7:188)
Loy deliberated about what to call this handwritten piece; slight variations in the title include “The Logos in the Arts.” and (possibly the first) “Logos in Art.” The fragments here are part of a longer work, of which 1, 2, 6, and 7 are the numbered pages that remain. “Logos” can mean word, speech, discourse, or reason, and is often conflated with the divine; Loy’s text is thus tied to her ongoing explorations of aesthetics and metaphysics.
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“Greek the spirals” was “The spirals”
After “centrality” reads “or encircle the limbs drawing the eye — etc.”—ed.
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“conformity to finite” was “conformity to inf”
“passagère” reads “ ‘passagère’ ”—ed.
Above “The new Zig Zag” reads “Logos in Art”—ed.
“falls down” was “fell down”
“Cinema” reads “(Cinema)”—Loy may have wanted this word excised—ed.
“Screen” has a long line through it—ed.
“nouvelle vierges” reads “Nouvelle vierges”—“vierges” is unclear — ed.
Beneath “penetrates” reads “permeates”—ed.
“because the proportions of their” was “because their”
“too great for” was “too great or p”
“their purpose” was “their adaptation”
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Above “The logos” reads “Logos in Art.”—ed.
“than those” reads “that those”—ed.
“of some previous” was “of previous”
“breathing upon of the logos” was “breathing into of the logos” and also “breathing of the logos”
“inform contemporary” was “inform the”
THE METAPHYSICAL PATTERN IN AESTHETICS
(6:165)
Describing “The Metaphysical Pattern in Aesthetics.” as “a prescient essay on modernist abstraction,” Burke dates it at 1923, which is the same year that Loy published her first volume of poetry, Lunar Baedecker [sic] (BM 325). This piece consists of a typescript of two pages; the folder in Loy’s papers contains no handwritten or additional drafts.