The Lyric West

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. 2 (May 1921)

Here the break with genteel lyric convention begins in Weare Holbrook’s Quid Iuvat Ornato.

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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. 4 (August 1921)

Modernism enters this number through High Noon on the Slough by Ernest Dexter.

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Journal Issue

The Lyric West, Vol. 1, No. 5 (September 1921)

The number’s sharpest formal turn belongs to Rolfe Humphries’s On the Overland.

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Journal Issue

The Lyric West, Vol. 1, No. 6 (October 1921)

In Mist, Bernardine Algert brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 1, No. 7 (November 1921)

Here the break with genteel lyric convention begins in Pauline Barrington’s Los Angeles.

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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. 1, No. 11 (March 1922)

In Montana Wives, Gwendolen Haste brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 2, No. 1 (April 1922)

Here the break with genteel lyric convention begins in Ellen Coit Elliott’s Prima Donna of the Negro Jazz Orchestra.

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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. 3 (June 1922)

Modernism enters this number through A Late Passer by Hazel Hall.

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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. 5 (September 1922)

In Biography, Gwendolyn Haste brings the issue’s modernist pressure into focus.

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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. 7 (November 1922)

Spell of Granite by John Drury marks the issue’s most conspicuous opening toward modernist practice.

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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

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. 2 (May 1923)

Modernism enters this number through The Gallant Warrior by Belle Turnbull.

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