The Lyric West, Vol. 5, No. 2 (November 1925)

Open this November 1925 issue of The Lyric West and the contents begin making their own introductions. It contains 19 named pieces or sections, beginning with The Parable of Deepness by Vachel Lindsay, The Loveliest Things by Miriam Allen de Ford, and Forgotten by B. Y. Williams. 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.

In The Parable of Deepness, Vachel Lindsay brings the issue’s modernist pressure into focus. The poem builds by refrain and recurrence around “the east side to me”; repetition carries the poem’s turn rather than merely decorating it, bringing Western landscape without the usual pastoral polish into the magazine’s field of subjects. Alaine Boswell’s In a Cathedral answers it from another angle: it moves through deliberately uneven lines around “Incense and myrrh and swinging censers”; syntax and speaking rhythm take over work once assigned to a regular foot. Short lyrics, longer sequences, and unevenly unfolding free verse share the same contents list, making formal difference part of the issue’s reading rhythm. The issue catches Los Angeles poetry culture in transition: polished song remains public currency, but modernist compression and contemporary speech have begun to alter what a lyric can hold.

The contents page also works like a small map. Early entries establish the issue’s first set of voices; around the middle, In a Cathedral by Alaine Boswell changes the view; the closing stretch reaches Ships of the Desert by Herbert Rose. 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 Vachel Lindsay, Miriam Allen de Ford, B. Y. Williams, Sydney King Russell, Sarah Marie Cook, Louis Ginsberg, Ethelean Tyson Gaw, and Rosamond Eddy, along with 11 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, Desert, and Love—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 The Parable of Deepness by Vachel Lindsay, turn next to In a Cathedral by Alaine Boswell, and finish with Ships of the Desert by Herbert Rose. The clean reading edition is designed for that kind of movement. Original scan: 36 PDF pages. Reader’s edition: 51 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.