The Lyric West

Journal Issue

The Lyric West, Vol. 3, No. 3 (June 1923)

The number’s sharpest formal turn belongs to Pauline Garner Curran’s Neisan.

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Journal Issue

The Lyric West, Vol. 3, No. 4 (August 1923)

In A Woman’s Diary, Belle Turnbull brings the issue’s modernist pressure into focus.

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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. 9 (January 1924)

In Careers, Medora C. Addison brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 3, No. 10 (February 1924)

Here the break with genteel lyric convention begins in Gwendolen Haste’s The Woman of Windy Flat.

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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. 1 (October 1924)

Modernism enters this number through Hand in Sunlight by Hazel Hall.

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Journal Issue

The Lyric West, Vol. 4, No. 2 (November 1924)

The number’s sharpest formal turn belongs to Weare Holbrook’s Threnody.

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Journal Issue

The Lyric West, Vol. 4, No. 3 (December 1924)

In Autumn, New Mexico, Ruth Lechlitner brings the issue’s modernist pressure into focus.

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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. 5 (February 1925)

River Songs by Norma Miller marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 4, No. 6 (March 1925)

Modernism enters this number through Inland by Joan Dareth Prosper.

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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. 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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