The Lyric West, Vol. 4, No. 10 (September 1925)

Open this September 1925 issue of The Lyric West and the contents begin making their own introductions. It contains 18 named pieces or sections, beginning with Chanson by Joan Dareth Prosper, Nocturne by Norma Miller, and Two Songs by Dorothy McVickar. That opening offers a direct path through the issue, but it is not the only one. A reader can follow the printed order, pause over a familiar contributor, or start with a title that catches the eye. No special background is needed. The magazine explains itself gradually through the choices it makes and through the company each piece keeps.

Chrysanthemums by Lucy Hale Sturges marks the issue’s most conspicuous opening toward modernist practice. The poem uses rhetorical punctuation to disturb an otherwise measured line around “The candles flicker in a silver sconce”; exclamation and question become rhythmic events, bringing ordinary experience as formally unsettled lyric material into the magazine’s field of subjects. Wilson O. Clough’s To One Grown Blasé answers it from another angle: it compresses perception into short, image-bearing lines around “Ça vous amuse, la vie? you blandly ask”; pause and white space become part of the measure. Short lyrics, longer sequences, and unevenly unfolding free verse share the same contents list, making formal difference part of the issue’s reading rhythm. In Los Angeles, modernism does not erase regional or traditional verse; it puts new pressure on both, asking poets to treat rhythm and perception as unsettled problems.

The contents page also works like a small map. Early entries establish the issue’s first set of voices; around the middle, Dream Woman by Geraldine Seelemire changes the view; the closing stretch reaches The Journey’s End by Lenore C. Schutze. The works differ in length, subject, and manner, yet their placement creates connections that a simple list of names cannot show. The pleasure comes from those changes. A short piece can clear the air after a longer one, a new voice can redirect the mood, and an unexpected title can make an earlier page look different when the reader thinks back to it.

The contributor list includes Joan Dareth Prosper, Norma Miller, Dorothy McVickar, Ernest G. Moll, Mary Carolyn Davies, Doris L. Bradley, Isabel Fiske Conant, and Lucy Hale Sturges, along with 10 additional contributors. Some readers will arrive looking for a particular name; others will meet these contributors here for the first time. Either approach works. The publication details add useful context: the issue was edited by Roy Towner Thompson, published by The Lyric West, and issued from Los Angeles, California. A journal is also a made object, assembled by people deciding what to print, how to order it, and which voices should share a number. Reading from beginning to end lets those choices appear naturally.

The catalog subjects—Los Angeles literary culture, American poetry, Little magazines, and Death and elegy—are useful starting points, especially for searching, but they do not set limits on what a reader may find. For a first visit, begin with Chanson by Joan Dareth Prosper, turn next to Dream Woman by Geraldine Seelemire, and finish with The Journey’s End by Lenore C. Schutze. The clean reading edition is designed for that kind of movement. Original scan: 36 PDF pages. Reader’s edition: 44 PDF pages. It keeps the contents in a stable, legible form and makes names and titles easier to find. A source facsimile remains part of the project’s private editorial record, but it is not included in the public upload. What appears here is the reading copy: a practical way to spend time with the issue and discover which pieces invite a return.