Rarely compared, Amy Lowell and Mina Loy would each turn to poetry belatedly, knew and corresponded with some of the same writers and editors, championed the significance of American poetry, and questioned gendered conceptualisations of literary value. Both would explore their own genius not as a singularity but as part of a constellation. Despite quite different positionings in relation to modernist communities in New York and Europe, Lowell and Loy turned to satire as a roomy means to explore genius synchronically and diachronically, that is, a means to demonstrate their own significance among contemporaries while also navigating the impact of familial legacies. Contrasting Lowell’s largely forgotten A Critical Fable (1922) with Mina Loy’s early satires and “Anglo-Mongrels and the Rose” (1923–1925), this chapter argues that the former still demonstrates some valuable critical insights even as it remains constrained by its adherence to the form of the earlier A Fable for Critics (1848) by Lowell’s renowned cousin, James Russell Lowell. In contrast, Loy’s “Anglo-Mongrels and the Rose” signals its limitations while its experimental form works more successfully to surpass them.