Mina Loy

Recognized as a poet, less so as a visual artist […] Mina Loy also wrote in the style of Crystal Pantomime, a text from one hundred years ago [c. 1915] describing a ballet in prose. The writing evokes images with which actual theater effects can only interfere. It projects in the mind as onto a screen. But this restless writing does more than that, shifting registers and unfolded in equal parts fairy tale description, precise impossible stage directions, notes for impossible costumes and sets, guidelines for impossible choreography, and a glancing archeology of personal association, opinion, art historical commentary, and psychoanalysis, all floating in suspension, all shading into poetry, and with this manner of overflowing every frame defining its poetics. — Matthew Goulish

This first standalone edition of Crystal Pantomime opens with a biographical introduction by Mina Loy’s literary executor—poet Roger Conover—originally published in Eliot Weinberger’s journal Montemora in 1981, as well as a dramaturgical introduction by Matthew Goulish of Chicago performance group Every house has a door, originally prepared as opening remarks to Every house’s reading of Loy’s Pantomime at the Arts Club of Chicago in spring of 2024. In tandem these supplementary texts begin to frame what is a rather strange and singular sketch for a work never realized.