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 New York's modernist revolution, "the first American Dada" not just dressed and behaved with practical 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 character.
As a poet, she used to be profane and playfully obscene, imagining a farting God, and remodeling 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 latest 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 ny, 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 a hundred and fifty poems, such a lot of them by no means sooner than released. a few of the poems are themselves paintings gadgets, adorned in crimson and eco-friendly ink, embellished with sketches and diagrams, awarded with a similar visceral immediacy they'd once they have been composed.
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Additional info for Body Sweats: The Uncensored Writings of Elsa von Freytag-Loringhoven
In part through her use of both the dash and the portmanteau, the Baroness’s poems mirror her own body. They are sinewy and muscular—flexing against the page, against syntax, and against language itself, creating an embodied, performative poetics. H ow to be a Live Dada poem Stab for me/ Ruthless intensity/ Press to my bow’r —/ My nook — my core! (“Dornröschen”) The Baroness’s performance sets her apart as a poet practitioner. Poetry is the A=C=T=I=O=N of performance. The Baroness did more than write words and traverse space on the page.
Her multiple versions can be read as her working through a theme from different angles, which seemed to us the most appropriate way of arranging the oeuvre. Consequently, in organizing the poetry, we deliberately avoided the standard linear chronology to emphasize the thematic of body and embodiment central to the Baroness’s pioneering Dada. Although all of the Baroness’s poems included in this anthology are corporeally charged, we have foregrounded seven kinds of sensory explorations: the erotic and eroticized body, the body in movement and function, the spatially transgressive body exploring land- and cityscapes, the transcendent body engaged in philosophical contemplation, the decaying body, and the artistic body—the body as aestheticized and aestheticizing.
Consequently, in organizing the poetry, we deliberately avoided the standard linear chronology to emphasize the thematic of body and embodiment central to the Baroness’s pioneering Dada. Although all of the Baroness’s poems included in this anthology are corporeally charged, we have foregrounded seven kinds of sensory explorations: the erotic and eroticized body, the body in movement and function, the spatially transgressive body exploring land- and cityscapes, the transcendent body engaged in philosophical contemplation, the decaying body, and the artistic body—the body as aestheticized and aestheticizing.