Los Angeles little magazines

Journal Issue

California Quarterly, Vol. 2, No. 4 (Summer 1953)

Michael Wilson’s screenplay Salt of the Earth gives this issue its shape: a New Mexico mining strike becomes a test of solidarity, with the women’s demand for equality at home strengthening the workers’ fight on the picket line.

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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. VIII, No. 31 (Summer 1953)

William Millett’s 4-poem run, from Blind Man to Trains Mourn Their Distance, gives this issue its clearest formal center.

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Journal Issue

California Quarterly, Vol. 3, No. 1 (Autumn 1953)

Portrait of an Undesirable Alien gives this issue its argumentative center, with Frank Scully setting the terms.

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Journal Issue

Recurrence, Vol. IV, No. 14 (Autumn 1953)

Largesse and Proverb Reconsidered give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. VIII, No. 32 (Autumn 1953)

William Millett’s 3-poem run, from Rebirth to Silently They Invade, gives this issue its clearest formal center.

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Journal Issue

California Quarterly, Vol. 3, No. 2 (1954)

Poetry Must Have as Its Aim… gives this issue its argumentative center, with Paul Éluard setting the terms.

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Journal Issue

California Quarterly, Vol. 3, No. 3 (1954)

Elegy for a Soldier of the Spanish Civil War opens a number whose strongest movement comes through poetry.

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Journal Issue

Recurrence, Vol. IV, No. 15 (Winter 1954)

Wind and Tumultuous Altars give the issue a strong interest in water and weather.

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Journal Issue

Variegation, Vol. IX, No. 33 (Winter 1954)

Cecil Kyle’s 5-poem run, from My Nirvana to Entreaty, gives this issue its clearest formal center.

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Journal Issue

Recurrence, Vol. IV, No. 16 (Spring 1954)

The Myth and The Pigeons give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Recurrence, Vol. V, No. 17 (Summer 1954)

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

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Journal Issue

Recurrence, Vol. V, No. 18 (Autumn 1954)

Advent and Mutation give the issue a strong interest in natural observation.

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Journal Issue

Variegation, Vol. IX, No. 36 (Autumn 1954)

Canyon in Yellowstone and Tom-Toms give the issue a strong interest in water and weather.

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Journal Issue

California Quarterly, Vol. 3, No. 4 (1955)

From the 1855 Preface gives this issue its argumentative center, with Walt Whitman setting the terms.

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Journal Issue

Recurrence, Vol. V, No. 19 (Winter 1955)

Aerials and How Still They Grow give the issue a strong interest in shifting scenes and states of mind.

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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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Journal Issue

Coastlines, Vol. I, No. 1 (Spring 1955)

Editorial gives this issue its argumentative center.

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Journal Issue

Recurrence, Vol. V, No. 20 (Spring 1955)

The Well and A Touch of Old New York give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. X, No. 38 (Spring 1955)

Cecil Kyle’s 3-poem run, from Farewell to Offerings to Aphrodite, gives this issue its clearest formal center.

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Journal Issue

Coastlines, Vol. I, No. 2 (Summer 1955)

Collected Poems of Wallace Stevens gives this issue its argumentative center, with Gene Frumkin setting the terms.

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Journal Issue

Recurrence, Vol. VI, No. 21 (Summer 1955)

Slow Potto in Captivity and Use of Earth give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Coastlines, Vol. I, No. 3 (Autumn 1955)

Science Fiction: From Escape to Freedom gives this issue its argumentative center, with Mel Weisburd setting the terms.

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Journal Issue

Recurrence, Vol. VI, No. 22 (Autumn 1955)

Myron H. Broomell’s 3-poem run, from The Point of Aristotle to Glass is the Best Material for Ashtrays, gives this issue its clearest formal center.

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