By Elsa von Freytag-Loringhoven, Irene Gammel, Suzanne Zelazo
As a neurasthenic, kleptomaniac, man-chasing proto-punk poet and artist, the Baroness Elsa von Freytag-Loringhoven left in her wake a ripple that's changing into a rip--one hundred years after she exploded onto the recent York paintings scene. As an agent provocateur inside of New York's modernist revolution, "the first American Dada" not just dressed and behaved with functional outrageousness, yet she set an instance that went way past the eccentric divas of the twenty-first century, together with her conceptual descendant, woman Gaga. Her delirious verse flabbergasted New Yorkers up to her flamboyant personality.
As a poet, she used to be profane and playfully obscene, imagining a farting God, and reworking her modern Marcel Duchamp into M'ars (my arse). With its ragged edges and atonal rhythms, her poetry echoes the noise of the city itself. Her love poetry muses graphically on ejaculation, orgasm, and oral intercourse. while she uninterested in present phrases, she created new ones: "phalluspistol," "spinsterlollipop," "kissambushed." The Baroness's rebellious, hugely sexed howls prefigured the Beats; her depth and mental complexity anticipates the poetic utterances of Anne Sexton and Sylvia Plath.
Published greater than a century after her arrival in big apple, Body Sweats is the 1st significant choice of Elsa von Freytag-Loringhoven's poems in English. The Baroness's biographer Irene Gammel and coeditor Suzanne Zelazo have assembled one hundred fifty poems, so much of them by no means earlier than released. some of the poems are themselves paintings gadgets, embellished in pink and eco-friendly ink, decorated with sketches and diagrams, offered with an analogous visceral immediacy they'd after they have been composed.
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Additional resources for Body Sweats: The Uncensored Writings of Elsa von Freytag-Loringhoven
5). Although the photograph preserves some cultural norms (the Baroness looks up, McKay looks down), the composition speaks of subversion and border crossing: McKay wears a full dress and pearls; the Baroness wears a tribal headdress and bares her skin. The pairing of a sexually aggressive female poet from Germany with a leftist gay Jamaican poet does more than simply stage their pride in their own marginal status and queered identities. ”27 Despite the height differential, the Baroness appears cocky and assertive as she leans on McKay’s body, breaking the boundaries of his personal space.
8 Elsa von Freytag-Loringhoven and Djuna Barnes, 1926. Djuna Barnes Papers, University of Maryland Library. 7 1923 and 1925 yields important insight into her method, as she 30 Is a thing of long ago I freshened up—it became surprisingly fine—that’s all I do now—any way—by memory! Or translate my own things—from German into English—and the other way. Send all these things to “The Little Review” maybe they’ll buy them—for pity’s sake what? This “freshening” technique is central to a number of poems, as she was pulling together her life’s work, collecting poetry she had first written in Wyk auf Föhr, Palermo, and New York, and updating earlier poetry for publication.
The voice of this “future futurist,” as the Baroness calls herself in “Love—Chemical Relationship,” so far ahead of its time in the 1920s, is finally, after a full century since her first arrival in New York, ready to be heard. We provide a note for each poem with detailed information about the poem’s textual genealogy, the choice of copy text and its variants, along with the Baroness’s own commentary, editors’ comments, and emendations (see Notes on the Poetry, pages 339–394). Sources and P rincip les of Selection s The vast majority of poems printed in this book are based on EvFL’s handwritten manuscripts, or typescripts prepared by DB and corrected in the Baroness’s hand.