Encoded documents and images are derived from manuscripts in the Papers of Elsa von Freytag-Loringhoven in Special Collections at the University of Maryland, College Park, Libraries. In addition, individual pages or leaves of manuscripts are identified by the corresponding reel and frame numbers of the microfilm edition of the Freytag-Lorinhoven Papers.
Published by Tanya Clement.Office of Digital Collections and Research (DCR), University of Maryland, College Park, MD 20742
Baroness Elsa von Freytag-Loringhoven's poetry is printed here with the support of the University of Maryland Libraries. Permission to reproduce images of Freytag-Loringhoven's manuscripts has also been generously granted by the libraries.
This poem and manuscript drafts are available from this site for demonstration purposes only. Though the intellectual property of Elsa von Freytag-Loringhoven is in the public domain, all annotations and editorial commentary are copyrighted. They may not be reproduced without explicit permission from the copyright holder. For copyright information, please contact Tanya Clement.
DTD constructed from TEI P5 poetry base with tagsets for parallel segmentation, linking, figures, analysis, transcr, textcrit.
Line breaks have not been preserved in prose sections in order to facilitate parallel segmentation procedures.
"Café du Dôme" was published alongside her poem "XRay" in transition 7 (October 1927): 134-135. Café du Dôme in Montparnasse, Paris was a favorite stopping place for Parisians and expatriates during the twenties. In the Baroness’s writings, it represents a site in Paris where all types of marginalized identities such as artists, writers, bisexuals and trans-sexuals could meet and greet alongside tourists and common Parisians. The Café encapsulates this network of personalities but so does Marcel Duchamp whose personality the Baroness gestures toward here with the opposing images of "Mike" (the common man), "marcelled" (the highly coiffed and pampered man), "Saint Kyk" (both elevated and denigrated) and "Garcon!" (the object of the poem but a boy mean to cater to her demands). Needless to say, the Baroness’s feelings towards Duchamp were conflicted. She both admired him for his innovative and experimental art and abhorred him for his widespread success, which brought him both recognition and monetary rewards: "MARCEL," she writes in an undated letter to Djuna Barnes, ‘IS PERMITTET
The Baroness mentions the Café in one other short prose piece that bears some relevancy both to the context in which the poem was published (alongside "Xray") and to the themes in the poem discussed above. This prose piece is written on the back of a pamphlet for a Man Ray exhibit called "Peintures de Kiki" which featured paintings of Alice Prin, Man Ray’s lover in the 1920s. The piece is written in two versions, the second of which I include here:
"IT IS NICE HE GIRL- SHE MAN – WHENEVER I ENTER IN FAMOUS DOME TO WHOM
HAPPENS- AS TO ME CLAIRVOYANCE THROUGH HIS ATTIRE OBSERVING IT - THIS PHENOMENON HAPPENS THIS PHENOMENON: AS IN FEAR OF UNEXPECTED DISCHARGE BY SUDDEN FIT OF DARRHEEA HE UP PURSES HIS ARSHOLE BY FEAR OF HAVING TO UNPURSE HIS PURSE. IT IS THIS FERTILIZER OF OUR WORLD CONSTITUTION FLOURISHING PROGRESS HE IS LOATH TO PART EVEN TINIEST MORSEL WITH – THOUGH – WHEN I SEE HIM SITTING SO I GOT FOR FANCY -- TO ALL SEEMING SIPPING HIS LITTLE DRINK – UNTIL HE CATCHES MY SIGHT—FREEZING PURSING UP IN THAT FREEZING RUSHING WAY SRRRRRRR – I – THOUGH WHEN I SEE HIM – TO ALL SEEMING SITTING FANCY FREE SIPPING HIS LITTLE DRINK UNTIL HE CATCHES MY SIGHT SRRR -- PURSING UP IN THAT RUSHING HURRY – THAT I SEE STRING PULLED SIPPING HIS LITTLE DRINK --