Neeta Marquis

Journal Issue

The Lyric West, Vol. 1, No. 1 (April 1921)

In Gaydiang, Ruth Comfort Mitchell brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 1, No. 3 (June 1921)

Redondo by the Sea by Pauline Barrington marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 1, No. 8 (December 1921)

In the Telephone Book by Eda Lu Walton marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 1, No. 9 (January 1922)

Modernism enters this number through Streetscape by Roubaix de l’Abrie Richey.

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Journal Issue

The Lyric West, Vol. 2, No. 4 (August 1922)

The number’s sharpest formal turn belongs to Rolfe Humphries’s Evening on Tahoe.

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Journal Issue

The Lyric West, Vol. 3, No. 1 (April 1923)

Pauline Barrington’s combative review of Ezra Pound’s Poems 1918–21 shares the issue with Dorothea Moore on Marcel Proust and Jessica Nelson North’s modernist lyric “Wheels and Wings.”

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Journal Issue

The Lyric West, Vol. 3, No. 5 (September 1923)

Here the break with genteel lyric convention begins in Elizabeth J. Coatsworth’s The Dance.

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Journal Issue

The Lyric West, Vol. 5, No. 9 (August 1926)

Translations of Original Japanese Tanka by Yorozu Tsurumi 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 Poetry Society Quarterly, Vol. 1, No. 3 (June 1938)

War enters this issue before the poems have had time to settle.

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Journal Issue

Variegation, Vol. III, No. 3 (Summer 1948)

Lawrence P. Spingarn’s 3-poem run, from Claustrophobe to The Climate Within, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. III, No. 4 (Autumn 1948)

Hanson Kellogg’s 5-poem run, from Dedicatory Invocation for a Public Library to Valley Harbor, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. IV, No. 3 (Summer 1949)

Mary Pearson’s 3-poem run, from For a Blind Man to Prelude to a Storm, gives this issue its clearest formal center.

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Journal Issue

Recurrence, Vol. I, No. 2 (Autumn 1950)

The Lighthouse and The Usual Song give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. VI, No. 1 (Winter 1951)

Van Gogh and Prelude to Divorce give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. I, No. 4 (Spring 1951)

Myron H. Broomell’s 3-poem run, from The Porch to In Time of Peace, gives this issue its clearest formal center.

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Journal Issue

Recurrence, Vol. LI, No. 5 (Summer 1951)

The Tennis Court and In the Misty Night give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. II, No. 8 (Spring 1952)

Pastoral and To a Cat, Not Royal give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. III, No. 9 (Summer 1952)

Eleanor Glenn Wallis’s 3-poem run, from The Phoenix to Interval of Frost, gives this issue its clearest formal center.

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Journal Issue

Variegation, No. 28 (Autumn 1952)

The Island of Seven Cities and Correction Relating to the Summer Editorial give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. IV, No. 13 (Summer 1953)

Ann Stanford’s 3-poem run, from The Trolley to Apple in a Southern Garden, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. X, No. 37 (Winter 1955)

Ada Davies’s 3-poem run, from Indelible Insect Fears to Dusk, gives this issue its clearest formal center.

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