Seasons

Journal Issue

Variegation, No. 1 (January 1946)

In the Colors of the Heart and City Seen from an Airplane give the issue a strong interest in water and weather.

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Journal Issue

Variegation, No. 2 (April 1946)

Marcia Masters’s 3-poem run, from Little Town to Lilac, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. I, No. 4 (Autumn 1946)

Dusk and Some Free Verse of Earlier Centuries give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. II, No. 2 (Spring 1947)

Marcia Masters Jennings’s 3-poem run, from Little Biography to Spring Ride and Wood Song, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. II, No. 4 (Autumn 1947)

E. MacDermott Johnston’s 4-poem run, from Anno Domini 1947 to Politician, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. III, No. 1 (Winter 1948)

Frank Bernard’s 3-poem run, from Fog at Night to Emporium, gives this issue its clearest formal center.

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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. V, No. 3 (Summer 1950)

Life Sentence and Seal Rocks give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. VI, No. 2 (Spring 1951)

Marcia Masters’s 3-poem run, from At the Grave of My Father, Edgar Lee Masters to Transitions, gives this issue its clearest formal center.

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Journal Issue

Variegation, Vol. VI, No. 4 (Autumn 1951)

Dayspring and Assignments give the issue a strong interest in shifting scenes and states of mind.

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Journal Issue

Variegation, Vol. VII, No. 25 (Winter 1952)

Hanson Kellogg’s 3-poem run, from Palomar to New Year’s Eve, gives this issue its clearest formal center.

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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, Vol. VII, No. 27 (Summer 1952)

Ada Davies’s 3-poem run, from Inwardness to No Return, 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. III, No. 11 (Winter 1953)

Flying Fish and Weapon and Shield give the issue a strong interest in seasonal change.

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Journal Issue

Recurrence, Vol. III, No. 12 (Spring 1953)

Carol Hogben’s 3-poem run, from My Summer Stranger to Life Lane, gives this issue its clearest formal center.

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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

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. 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

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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Journal Issue

Recurrence, Vol. VII, No. 27 (Winter–Spring 1957)

Lines for Artemis and Garden at Nightfall give the issue a strong interest in shifting scenes and states of mind.

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