THE JOURNALS

Browse complete issues, journal-derived anthologies, and research indexes. Each record opens to an individual reading page with contributors, contents, publication details, and PDF access.

ALL EDITIONS

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

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

Pegasus, Vol. 1, No. 2 (March 1923)

The second number looks more fully like a little magazine: Fred Gronberg appears as associate editor, a contents page maps the issue, and the editorial office is fixed at 2372 First Street, San Diego.

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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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