Recurrence, Vol. IV, No. 13 (Summer 1953)

Open this Summer 1953 issue of Recurrence and the contents begin making their own introductions. It contains 15 named pieces or sections, beginning with Icarus by Leslie Nelson Jennings, Cellophane by Myron H. Broomell, and Assembly Line by Hanson Kellogg. 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.

Ann Stanford’s 3-poem run, from The Trolley to Apple in a Southern Garden, gives this issue its clearest formal center. Across 14 poems, rhyme often serves as a way of tightening turns of thought: brief lyrics sit beside longer stanzaic arguments, while the sequence of titles keeps the pacing exact. What stands out is those changes of scale, as a single image is often answered by a more extended poem on the next leaf. Around that sequence, Icarus and Mars widen the issue’s range without breaking its measured, poem-by-poem concentration.

The contents page also works like a small map. Early entries establish the issue’s first set of voices; around the middle, Old Mountain Woman by Kate Fort Codington changes the view; the closing stretch reaches Contributors. 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 Leslie Nelson Jennings, Myron H. Broomell, Hanson Kellogg, Ann Stanford, Neeta Marquis, Kate Fort Codington, Maureen Cobb Mabbott, and Madge Hales, along with 2 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 Grover Jacoby, published by Variegation Publishing Company, 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 little magazines, American poetry, Rhyme, and Formalist poetry—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 Icarus by Leslie Nelson Jennings, turn next to Old Mountain Woman by Kate Fort Codington, and finish with Contributors. The clean reading edition is designed for that kind of movement. Original scan: 18 PDF pages. Reader’s edition: 17 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.