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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. 1, No. 10 (February 1922)

The number’s sharpest formal turn belongs to Rolfe Humphries’s February.

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Journal Issue

The Lyric West, Vol. 2, No. 2 (May 1922)

Calcutta by Mabel W. Phillips marks the issue’s most conspicuous opening toward modernist practice.

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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. 2, No. 6 (October 1922)

Here the break with genteel lyric convention begins in Cornelia Meade Scarborough’s The Desert Passes.

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Journal Issue

The Lyric West, Vol. 2, No. 8 (December 1922)

Modernism enters this number through Chamber Music by R. Ellsworth Larson.

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Journal Issue

Pegasus, Vol. 1, No. 1 (January 1923)

Pegasus begins as a deliberately small San Diego magazine: W. H. Lench is named editor and publisher, and the opening roster balances local coastal imagery with a wider lyric register.

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Journal Issue

The Lyric West, Vol. 2, No. 9 (January 1923)

The number’s sharpest formal turn belongs to Hugo Folliard’s Contemporary Literature.

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Journal Issue

The Lyric West, Vol. 2, No. 10 (February 1923)

In Tsi Ouan Wishes to Believe in Resurrection, Paul Eldridge brings the issue’s modernist pressure into focus.

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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. 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. 3, No. 6 (October 1923)

A Pastel by Leonora F. Curtin marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 3, No. 7 (November 1923)

Modernism enters this number through Adjustment by Laura Riding Gottschalk.

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Journal Issue

The Lyric West, Vol. 3, No. 8 (December 1923)

The number’s sharpest formal turn belongs to Edith Miniter’s Purple Window Glass.

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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. 4 (January 1925)

Here the break with genteel lyric convention begins in George H. Dillon’s Beauty Trembled Close.

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Journal Issue

The Lyric West, Vol. 4, No. 7 (April 1925)

The number’s sharpest formal turn belongs to Mary Brennan Clapp’s Ether.

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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. 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. 7, No. 2 (November 1927)

Samarkand by Lucy H. Sturges marks the issue’s most conspicuous opening toward modernist practice.

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