Mary Carolyn Davies

Journal Issue

The Lyric West, Vol. 2, No. 11 (March 1923)

Here the break with genteel lyric convention begins in Hazel Hall’s Pursuit.

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Journal Issue

The Lyric West, Vol. 3, No. 4 (August 1923)

In A Woman’s Diary, Belle Turnbull brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 3, No. 9 (January 1924)

In Careers, Medora C. Addison brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 3, No. 11 (March 1924)

In a Railway Station by Mary Sinton Leitch marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 3, No. 12 (April 1924)

Modernism enters this number through Wind Prints of a Dancer by Charmian von Wiegand.

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Journal Issue

The Lyric West, Vol. 4, No. 8 (May 1925)

In Giovanni Malatesta, Miriam Allen de Ford brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 4, No. 10 (September 1925)

Chrysanthemums by Lucy Hale Sturges marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 6, No. 7 (April 1927)

Here the break with genteel lyric convention begins in Henri Faust’s Whistles.

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Journal Issue

The Lyric West, Vol. 6, No. 8 (May 1927)

Moon-Storm by Dana Burnet marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 6, No. 9 (June 1927)

Modernism enters this number through Cerebral by Lilian White Spencer.

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Journal Issue

The Lyric West, Vol. 6, No. 10 (September 1927)

The number’s sharpest formal turn belongs to Arthur Jonson’s Poems for a Chinese Anthology.

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Journal Issue

The Lyric West, Vol. 7, No. 1 (October 1927)

Here the break with genteel lyric convention begins in Richard Shelley’s A Warrior Returns Home.

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