American poetry

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. 9 (July 1925)

Here the break with genteel lyric convention begins in Richard A. Summers’s Earthquake.

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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. 5, No. 1 (October 1925)

The number’s sharpest formal turn belongs to Patterson Greene’s The Artist Receives Notice of a Bequest.

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Journal Issue

The Lyric West, Vol. 5, No. 2 (November 1925)

In The Parable of Deepness, Vachel Lindsay brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 5, No. 3 (December 1925)

Here the break with genteel lyric convention begins in Frances Wierman’s City Rivers.

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Journal Issue

The Lyric West, Vol. 5, No. 4 (January 1926)

The Orient Visits New York by Chi-Hwang Chu and Edna Worthley Underwood marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 5, No. 5 (February 1926)

Modernism enters this number through Montana Lake by Robert E. Wade, Jr. The poem organizes description through sentence-length lines around “The Japanese painters know”; emphasis shifts through image, enjambment, and changes in syntactic pace, bringing East Asian forms and translated perspectives into the magazine’s field of subjects.

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Journal Issue

The Lyric West, Vol. 5, No. 6 (March 1926)

The number’s sharpest formal turn belongs to Geraldine Seelemire’s Bitter Creek.

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Journal Issue

The Lyric West, Vol. 5, No. 7 (April 1926)

In Shelley in Our House, Jo Hartman brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 5, No. 8 (June 1926)

Here the break with genteel lyric convention begins in Grace Stone Coates’s Diathesis.

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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. 5, No. 10 (September 1926)

Modernism enters this number through Incompatible by Irene Stewart.

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Journal Issue

The Lyric West, Vol. 6, No. 1 (October 1926)

In In the Province of Shantung, B. Y. Williams brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 6, No. 2 (November 1926)

Here the break with genteel lyric convention begins in Ethel Romig Fuller’s Voices.

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Journal Issue

The Lyric West, Vol. 6, No. 3 (December 1926)

Wolf-Dawn by Geraldine Seelemire marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 6, No. 4 (January 1927)

Modernism enters this number through Dancing Girl of Utica by Ruth Clay Price.

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Journal Issue

The Lyric West, Vol. 6, No. 5 (February 1927)

The number’s sharpest formal turn belongs to Clinton Scollard’s The Drama’s End.

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Journal Issue

The Lyric West, Vol. 6, No. 6 (March 1927)

In The Clavilux, Madge Ohe brings the issue’s modernist pressure into focus.

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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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