Lyric West – An Index of Poets

• Addison, Medora C — Contributor
• Ainslie, Caroline — Contributor
• Algert, Bernardine — Contributor
• Allen, Dorothy Hoskins — Contributor
• Altrocchi, Julia Cooley — Contributor
• Ames, Lucile Perry — Contributor
• Anderson, William H — Contributor
• Arata, Oliver S — Contributor
• Armstrong, Nelchen — Contributor
• Arnstein, Flora J — Contributor
• Ashley, Lillah A — Contributor
• Atkins, Lois — Contributor
• Atkinson, Arthur W — Contributor
• Aughiltree, Ruth — Contributor
• Auslander, Joseph — Contributor
• Axtell, Reeves — Contributor
• Babcock, Charlotte F — Contributor
• Bain, Read — Contributor
• Bainbridge, W. H — Contributor
• Baird, Leslie E — Contributor
• Baldwin, Faith — Contributor
• Ball, Elizabeth — Contributor
• Ballard, Charles — Contributor
• Ballard, Edward — Contributor
• Bancroft, Alberta — Contributor
• Barker, S. Omar — Contributor
• Barkley, Alice — Contributor
• Barnett, Mavis Clare — Contributor
• Barr, Henrietta C — Contributor
• Barrett, Lilian — Contributor
• Barrington, Pauline — Contributor, Essayist
• Barton, Katharine Marie — Contributor
• Bassett, Ruth — Contributor
• Batchelor, J. M — Contributor
• Bay, Beulah — Contributor
• Beck, John Oscar — Contributor
• Beebe, Frances — Contributor
• Beede, Lillian Barker — Contributor
• Behre, Edwine — Contributor
• Behymer, L. E — Contributor
• Bek, Herschelle — Contributor
• Belvie, Edwine — Contributor
• Benjamin, Isaac — Contributor
• Bennett, Joy — Contributor
• Bennett, Raine — Contributor
• Berenberg, David P — Contributor
• Berry, Raymond Alvin — Contributor
• Bishop, Ralph Parker — Contributor
• Blackman, Kate — Contributor
• Bohm, Elizabeth — Contributor
• Bois, Graham Du — Contributor
• Boissevain, Mynhart J — Contributor
• Booe, Nadine — Contributor
• Borland, Harold G — Dramatist
• Bornholdt, Florence Parker — Contributor
• Borst, Beatrice West — Contributor
• Borst, Richard Warner — Contributor
• Bostick, Louise Stedman — Contributor
• Bostwick, G. G — Contributor
• Boulton, Hilda Brann — Contributor
• Bowles, O. J — Contributor
• Bradley, Virginia Burton — Contributor
• Brady, Emeline Margaret — Contributor
• Braithwaite, William Stanley — Contributor
• Bremer, Anne — Contributor
• Brewer, Wheaton Hale — Contributor, Dramatist
• Bright, Verne — Contributor
• Brooks, Olive — Contributor
• Brownell, Evelyn B — Contributor
• Buckley, Nancy — Contributor
• Bunch, Andred W — Contributor
• Burgess, Robert Louis — Contributor
• Burnap, Naneen — Contributor
• Burnet, Dana — Contributor
• Burton, Richard — Contributor
• Bush, Grace E — Contributor
• Byers, S. H. M — Contributor
• Caie, Harriet — Contributor
• Call, Jessie — Contributor
• Callaghan, Gertrude — Contributor
• Calland, Annice — Contributor
• Campbell, Amy — Contributor
• Campbell, Lily B — Contributor
• Carrington, Mary Coles — Contributor
• Cartwright, Dorothy Hawley — Contributor
• Caruthers, Mazie V — Contributor
• Cavallara, Lilian White Spencer and Louis — Contributor
• Chaffee, Porter Myron — Contributor
• Chamberlain, Lowell C — Contributor
• Chamberlain, Will — Contributor
• Cheney, Harvey D — Contributor
• Cheney, Ralph — Contributor
• Chipp, Elinor — Contributor
• Cise, Ethel Van — Contributor
• Clapp, Mary Brennan — Contributor
• Clark, Allen — Contributor
• Clark, Etha Jeanne — Contributor
• Clercq, Jacques Le — Contributor
• Clough, F. Gardner — Contributor
• Clough, Wilson O — Contributor
• Clute, Doris — Contributor
• Coates, Grace Stone — Contributor
• Cobb, Mabel Ruggles — Contributor
• Coblentz, Stanton A — Contributor
• Coffin, Helen Lockwood — Contributor
• Cole, Vera Heathman — Contributor
• Collins, Dorothy E — Contributor
• Collins, Dorothy S — Contributor
• Collins, Jeannette M — Contributor
• Collins, Kenneth L — Contributor
• Colson, Ethel M — Contributor
• Colter, Elizabeth — Contributor
• Conant, Isabel Fiske — Contributor
• Conner, Sabra — Contributor
• Connor, Torrey — Contributor
• Conrard, Harrison — Contributor
• Cook, Alice Carter — Contributor
• Cook, Sarah Marie — Contributor
• Cooksley, S. Bert — Contributor
• Coolbrith, Ina — Contributor
• Cooper, Belle — Contributor
• Cooper, Frances L — Contributor
• Corning, Howard McKinley — Contributor
• Cowan, Sada — Contributor
• Cowdin, Jasper Barnett — Contributor
• Crank, Gertrude — Contributor
• Cresson, Abigail — Contributor
• Crever, Anna Rozilla — Contributor
• Crowell, Grace Noll — Contributor
• Crum, Ethel — Contributor
• Cunningham, Nora B — Contributor
• Curran, Lucy A — Contributor
• Curtin, Leonora F — Contributor
• Curtiss, Edith Clarke — Contributor
• Dabney, Julia P — Contributor
• Dalton, Power — Contributor
• Darlow, Gertrude E — Contributor
• Davidson, Gustav — Contributor
• Davidson, Winifred — Contributor, Dramatist
• Davie, Elizabeth — Contributor
• Davis, Dorcas — Contributor
• Davis, Julia Johnson — Contributor
• Davis, Martha — Contributor, Dramatist
• Dean, Agnes Louise — Contributor
• Denis, Alberta Johnston — Contributor
• Dennen, Grace Atherton — Contributor, Dramatist
• Denny, Eleanor M — Contributor
• Deutsch, Babette — Contributor
• Dewing, Andrew — Contributor
• Dillard, Hazelle — Essayist
• Dillon, George H — Contributor
• Doane, Gilbert Harry — Contributor
• Donovan, Lois — Contributor
• Dow, Elizabeth La — Contributor
• Drake, Dorothy — Contributor
• Drake, Sidney — Contributor
• Dravo, Margaret Duncan — Contributor
• Driscol, Marjorie Charles — Contributor
• Drury, John — Contributor
• Dunbar, Aldis — Contributor
• Dustan, Richard — Contributor
• Dye, Harvey Sellers — Contributor
• Eddy, Rosamond — Contributor
• Edwards, Jennette — Contributor
• Eldridge, Paul — Contributor, Essayist
• Elliott, Ellen Coit — Contributor, Dramatist
• Elmendorf, Mary J — Contributor
• Emerson, Gareth — Contributor
• Etter, Kirby — Contributor
• Evans, Lucile — Contributor
• Everett, Laura Bell — Contributor
• Fagin, N. Bryllion — Contributor
• Farkasch, Hazel — Contributor
• Faust, Henri — Contributor
• Fay, Alice — Contributor
• Feldman, Jesse Hugo — Contributor
• Felt, Seth Jehiel — Contributor
• Fenner, Beatrice — Contributor
• Ferl, Emily — Contributor
• Field, Ben — Contributor
• Field, Mildred Fowler — Contributor
• Field, Sara Bard — Contributor
• Field, Wright — Contributor
• Fitzbucke, E. G — Contributor
• Fitzwilliam, G. William — Contributor
• Flanner, Hildegarde — Contributor
• Flexner, Hortense — Contributor
• Flohr, Natalie — Contributor
• Flower, Jaen — Contributor
• Folliard, Hugo — Contributor
• Foote, Elvira — Contributor
• Forrest, Elizabeth Chabot — Contributor
• Forster, George F — Contributor
• Forté, Alice — Contributor
• Foster, Kate Quinan — Contributor
• Frazee-Bower, Helen — Contributor
• Frazee, Betty Dickinson — Contributor
• Frazee, Isaac Jenkinson — Contributor
• Frye, Grace — Contributor
• Fuller, Elinor — Contributor
• Fuller, Ethel Romig — Contributor
• Gaines, Frances — Contributor
• Gale, Zona — Contributor
• Beloved, It Is Daybreak on the — Contributor
• Gallatin, Neal — Contributor
• Gammans, Harold W — Contributor
• Gane, Homer G — Contributor
• Gardner, Orpha M — Contributor
• Gates, Allene — Contributor
• Gaw, Ethelean Tyson — Contributor
• Gaylord, Myrtle Levy — Contributor
• Geddes, Virgil — Contributor, Fiction writer
• Gessler, Clifford — Contributor
• Gibbs, Agnes K — Contributor
• Giddings, Harrison — Contributor
• Gilbert, Anne Kelledy — Contributor
• Gilchrist, Marie Emilie — Contributor
• Ginsberg, Louis — Contributor
• Glaenzer, Richard Butler — Contributor
• Goodman, Charles — Contributor
• Gordon, Don — Contributor
• Gordon, Ronald — Contributor
• Gottschalk, Laura Riding — Contributor
• Graham, Gladys Wilmot — Contributor
• Gray, Agnes Kendrick — Contributor
• Gray, Eunice T — Contributor
• Gray, Philip — Contributor
• Gray, Whitley — Contributor
• Greene, Patterson — Contributor
• Griffith, William — Contributor
• Gross, Frances Wetmore — Contributor
• Grun, Justus — Contributor
• Gusling, Kalfus Kurtz — Contributor
• Gutterson, Edith — Contributor
• Haddox, Dorothy — Contributor
• Icarus, Thor and the Furies — Contributor
• Haines, M. Rainsford — Contributor
• Haley, Laura Margaret — Contributor
• Haley, Molly Anderson — Contributor
• Hall, Grace E — Contributor
• Hall, Hazel — Contributor
• Hamilton, Marion Ethel — Contributor
• Hammond, Eleanor — Contributor
• Harding, Katharine Washburn — Contributor
• Harmon, Beatrice — Contributor
• Harrier, Jessie Vaughn — Contributor
• Harriman, Alice — Contributor
• Harris, Ramsay L — Contributor
• Hartley, Lillian — Contributor
• Hartman, Jo — Contributor
• Harwood, Ruth — Contributor, Essayist
• Heartt-Dreyfus, Estelle — Contributor
• Heath, Monroe — Contributor
• Hedges, Ada Hastings — Contributor
• Heller, Samuel — Contributor
• Henderson, Rose — Contributor
• Hendricks, Cecelia Hennel — Contributor
• Hendrickson, Anne — Contributor
• Henry, Edna G — Contributor
• Hensey, Alice Ferrin — Contributor
• Hepburn, E. MacAlister — Contributor
• Hess, Maud Hogue — Contributor
• Higgins, Annie — Contributor
• High, Lee S — Contributor
• Hill, Esther Clark — Contributor
• Hill, Frank Ernest — Contributor
• Hill, Marvin Luter — Contributor
• Hilliard, John Northern — Contributor
• Hillman, Gordon Malherbe — Contributor
• Hodgson, Cecil E. C — Contributor
• Holbrook, Weare — Contributor, Dramatist
• Holladay, Hellen H — Contributor
• Holloway, Roberta — Contributor
• Holme, Jamie Sexton — Contributor
• Holway, Edith Boyden — Contributor
• Hoopes, Helen Rhoda — Contributor
• Hope, Ethel — Contributor
• Hopkins, Ruth E — Contributor
• Hoskins, Ruth Corley — Contributor
• Houck, Amy — Contributor
• House, Roy Temple — Contributor
• Howat, Helen — Contributor
• Howe, Nancy Lee — Contributor
• Howell, Editha — Contributor
• Howell, Richard Clifton — Contributor
• Howes, Grace Clementine — Contributor
• Hudson, Addie Cropsey — Contributor
• Huffman, Adrian — Contributor
• Humphries, Rolfe — Contributor
• Hutchinson, Velma Byers — Contributor
• Hyer, Helen von Kolnitz — Contributor
• Inman, Arthur C — Contributor
• Ivey, B. S — Contributor
• James, E. O — Contributor
• Jenkins, John — Contributor
• Jenkins, Oliver — Contributor
• Johnson, Josephine — Contributor
• Johnson, Siddie Joe — Contributor
• Johnston, Winifred — Contributor
• Jones, Vincent — Contributor
• Jones, W. K — Contributor
• Jonson, Arthur — Contributor
• Kellogg, Lucie — Contributor
• Kells, Marion C — Contributor
• Kelly, Edwin M — Contributor
• Kelly, Sarah Hammond — Contributor
• Kendig, Katherine D — Contributor
• Kenyon, Bernice Lesbia — Contributor
• Keogh, Edna Alice — Contributor
• Kidd, Walter Evans — Contributor
• Kimball, Jessie Yarnell — Contributor
• Kinsman, Sallie — Contributor
• Kitt, Jessie Weber — Contributor
• Kittle, Goldsmith — Contributor
• Knapp, Ethel Marjorie — Contributor
• Knipe, Bertha McE — Contributor
• Kresensky, Raymond — Contributor
• Kuno, Hazel — Contributor
• Lanham, C. T — Contributor
• Larson, R. Ellsworth — Contributor
• Lechlitner, Ruth — Contributor
• LeClercq, Jacques — Contributor
• Lee, Borghild Lundberg — Contributor
• Lehmer, D. N — Contributor
• Lehmer, Eunice Mitchell — Contributor
• Leigh, A. B — Contributor
• Lemont, Jessie — Contributor
• Lench, W. H — Contributor
• California, Sweet Homeland of — Contributor
• Lewis, Janet — Contributor
• Lewis, Lilian — Contributor
• Lewis, Sylvia — Contributor
• Lincoln, Elliott C — Contributor
• Lindsay, Vachel — Contributor
• Lloyd, Anne — Contributor
• Long, Vivian Aten — Contributor, Dramatist
• Loving, Pierre — Contributor
• Luciani, Virgilio — Contributor
• Luhrs, Marie — Contributor
• Lund, Mary Graham — Contributor
• Lynch, Ada Kyle — Contributor
• Lyndall, Dorothy S — Contributor
• Lynn, Roberta — Contributor
• Lyttyl, Cavan — Contributor
• Mabie, Mary Louise — Contributor
• MacDonald, Susanne Rike — Contributor
• Mackay, Mirza French — Contributor
• MacLean, Katharine Allison — Contributor
• MacMillan, M. T — Contributor
• Magaret, Helen — Contributor
• Manning, Oliver — Contributor
• Maring, Helen Emma — Contributor
• Marinoni, Rosa Zagnoni — Contributor
• Maris, Faith — Contributor
• Markham, Anna Catherine — Contributor
• Markham, Lucia Clark — Contributor
• Marquis, Neeta — Contributor
• Marsh, Charles Howard — Contributor
• Martin, Portia — Contributor
• Martin, R. Helyn — Contributor
• Mathis, Earl — Contributor
• Maxwell, George — Contributor
• May, Beulah — Contributor
• McDougall, Mary Cormack — Contributor
• McGaffey, Ernest — Contributor
• McGowen, Elizabeth K — Contributor
• McKee, Ruth E — Contributor
• McLeod, LeRoy — Contributor
• McVickar, Dorothy — Contributor
• Mead, Ruth Bernice — Contributor
• Melvin, Harold Wesley — Contributor
• Menefee, Kate Randle — Contributor
• Meredith, Floyd — Contributor
• Merriehew, Martha Webster — Contributor
• Merryfield, Gladys Bovard — Contributor
• Miall, Agnes M — Contributor
• Miles, Josephine — Contributor
• Miller, Nellie Burget — Contributor
• Mills, Ellen Morrill — Contributor
• Miniter, Edith — Contributor
• Mirick, Edith — Contributor
• Mitchell, Elizabeth — Contributor
• Mitchell, Ruth Comfort — Contributor
• Mitvalsky, Frank — Contributor
• Moll, Ernest G — Contributor
• Moon, Lois Burton — Contributor, Reviewer
• Moore, Dorothea — Contributor
• Morrill, Belle C — Contributor
• Morrill, Jane — Contributor
• Morse, Vera Frances — Contributor
• Morton, David — Contributor
• Nethercot, Arthur H — Artist
• Newman, A. Evelyn — Contributor
• Newman, Wheeler F — Contributor
• Newton, Charlotte — Contributor
• Nibley, Hugh — Contributor
• Nichols, Beth Cheney — Contributor
• Nickerson, Paul S — Contributor
• Norman, Hilda Laura — Contributor
• North, Jessica Nelson — Contributor
• Norton, Meredith — Contributor
• Nyman, Georgia Currier — Contributor
• O’Neil, Sheila — Contributor
• Ohe, Madge — Contributor
• Orr, Mabel Guinan — Contributor
• Oswald, Gerald R — Contributor
• Page, Dorothy — Contributor
• Paine, Jean — Contributor
• Palmer, Bessie Pryor — Contributor
• Palmer, Floy Bernice — Contributor
• Parmenter, Catherine — Contributor
• Parrent, Daisy E. B — Contributor
• Parsons, Mable Holmes — Contributor
• Patching, Peggy — Contributor, Fiction writer
• Patterson, Dorothy — Contributor
• Peck, Eileen — Contributor
• Peel, Maud — Contributor
• Pelee, Lillian Sutton — Contributor
• Penny, Henrietta C — Contributor
• Perry, I. D — Contributor
• Persov, Anne — Contributor
• Peterson, Ames — Contributor
• Petri, Lori — Contributor
• Pfeiffer, Edward H — Contributor
• Phillips, Mabel W — Contributor
• Phlegar, Thelma — Contributor
• Po, Arthur E. Christy and Lee Cheuk — Contributor
• Poland, Joseph Franklin — Contributor
• Pope, Katherine — Contributor
• Porter, Anna — Contributor
• Porter, Gene Stratton — Contributor
• Powell, Julia — Contributor
• Powers, Jessica — Contributor
• Prager, Mollie — Contributor
• Pratt, Harry Noyes — Contributor
• Prescott, Elinor Manning — Contributor
• Preston, Elizabeth D — Contributor
• Price, Ruth Clay — Contributor, Dramatist
• Prideaux, Rolla — Contributor
• Probst, Leetha Journey — Contributor
• Purnell, Idella — Contributor
• Quirk, Charles J — Contributor
• Ramsaur, Hugh W — Contributor
• Ramsay, Henry — Contributor
• Ramsay, Joan — Contributor
• Randall, Grace — Contributor
• Randle, Emily — Contributor
• Rankin, Mary Louise — Contributor
• Ray, Louise Crenshaw — Contributor
• Raymund, Bernard — Contributor
• Reeves, Grace E — Contributor
• Reid, Peggy — Contributor
• Reini, Grace — Contributor
• Renick, Dorothy — Contributor
• Revere, Paula — Contributor
• Rice, Craig — Contributor
• Rich, H. Thompson — Contributor
• Ritchey, Gwynnyth J — Contributor
• Rittenhouse, Jessie — Artist, Contributor
• Roads, Helen Pursell — Contributor
• Roberts, Bertha — Contributor
• Roberts, Caesar A — Contributor
• Robinson, Anne M — Contributor
• Robinson, Earl — Contributor
• Robinson, W. W — Contributor
• Roche, Loretta — Contributor
• Rogers, Harold Herbert — Contributor
• Rogers, Helen Adele — Contributor
• Rogers, Lillian — Contributor
• Romany, Robin — Contributor
• Romig, Edna Davis — Contributor
• Rorty, James — Contributor
• Rose, Herbert — Contributor
• Rosenbaum, Benjamin — Contributor
• Rowles, Georgia — Contributor
• Royal, Ariel — Contributor
• Russ, Penelope — Contributor
• Ruthrauff, Henry Fitzgerald — Contributor
• Ruthrauff, Saidee Gerard — Contributor
• Sanborn, Robert Alden — Contributor
• Sarett, Lew — Contributor
• Satterlee, Anna E — Contributor
• Saunders, Whitelaw — Contributor
• Scarborough, Cornelia Meade — Contributor
• Schauffler, Robert Haven — Contributor
• Schlesinger, Helen — Contributor
• Scollard, Clinton — Contributor, Dramatist
• Seaman, Hellene — Contributor
• Searcy, Helene — Contributor
• Seelemire, Geraldine — Contributor
• Shaw, Dorothy Stott — Contributor
• Shead, Flossie Faith — Contributor
• Shelley, Richard — Contributor
• Shepherd, Dombey — Contributor
• Sherman, Ellen Burns — Contributor
• Shipley, Joseph T — Contributor
• Shipman, Clare — Contributor
• Shipp, E. Richard — Contributor
• Shumaker, Harriet Hall — Contributor
• Sigmund, Jay G — Contributor
• Silvay, Challiss — Contributor
• Sittig, Sigrid — Contributor
• Skavlan, Margaret — Contributor
• Skeen, Ruth Loomis — Contributor
• Skelton, Virginia — Contributor
• Smith, Chard Powers — Contributor, Dramatist
• Smith, Clark Ashton — Contributor
• Smith, Georgia D — Contributor
• Smith, Helen F — Contributor
• Smith, Helen P — Contributor
• Smith, Katherine G — Contributor, Dramatist
• Smith, Robert A — Contributor
• Smith, Sarah Bixby — Contributor
• Soper, Laura De Witt — Contributor
• Spaulding, Edith B — Contributor
• Spero, Anna Kalfus — Contributor
• Stait, Virginia — Contributor
• Stearn, Noel — Contributor
• Stearns, Elise — Contributor
• Steen, Josephine Mason — Contributor
• Stephen, A. M — Contributor
• Stetson, Alice — Contributor
• Stevens, Beatrice — Contributor
• Stevens, Eleanor Mathews — Contributor
• Stewart, Irene — Contributor
• Stewart, Winifred Gray — Contributor
• Stillwell, Ethel Brooks — Contributor
• Stoddard, Yetta Kay — Contributor
• Stork, Charles Wharton — Contributor
• Stryker, Carrie Woodward — Contributor
• Sturkow-Ryder, Madame — Contributor
• Sullivan, Maurice S — Contributor
• Summers, Richard A — Contributor
• Surmelian, Eugene — Contributor
• Swain, Y. F — Contributor
• Swett, Margery — Contributor
• Taggard, Genevieve — Contributor
• Taggart, E. Vashti — Contributor
• Tanaquil, Paul — Contributor
• Taylor, Lucile — Contributor
• Thew, Vivienne — Contributor
• Thomas, Elizabeth Henke — Contributor
• Thomas, Martha Banning — Contributor
• Thompson, Jessie Eberly — Contributor
• Thompson, Roy T — Contributor
• Thompson, Susan — Contributor
• Thurston, Charlotte W — Contributor
• Thurston, Helen — Contributor
• Tibeau, Beatrice — Contributor
• Tobias, Ruby Weyburn — Contributor
• Topping, Frances Hull — Contributor
• Tourelle, Elsa M — Contributor
• Towne, Charles Hanson — Contributor
• Townsend, Georgina S — Contributor
• Tractman, Judith — Contributor
• Traver, Olive Young — Contributor
• Trent, Lucia — Contributor
• Trombly, Albert Edmund — Contributor
• Tsurumi, Yorozu — Contributor
• Tunstall, Virginia Lyne — Contributor
• Turbyfill, Mark — Contributor
• Turnbull, Belle — Contributor
• Turner, Juanita — Contributor
• Uerkvitz, Herta — Contributor
• Underwood, Chi-Twang Chu and Ethel Worthley — Contributor
• Underwood, Edna Worthley — Contributor
• Underwood, John Curtis — Contributor
• Upper, Joseph — Contributor
• Vail, Harold — Contributor
• Vinal, Harold — Contributor
• Wade, Otis — Contributor
• Wall, Katherine — Contributor
• Wallace, Grace — Contributor
• Wallace, Leslie — Contributor
• Walther, Alice McCray — Contributor
• Ward, May Williams — Contributor
• Warnack, James M — Contributor
• Warren, Horatio — Contributor
• Waters, Jane E — Contributor
• Watkins, Eleanor Preston — Contributor
• Watson, Evelyn M — Contributor
• Watt, Effie Whyte — Contributor
• Webb, Margaret Ely — Contributor
• Webster, Louise — Contributor
• Webster, Martha — Contributor
• Welch, Marie de L — Contributor
• Whitaker, Robert — Contributor
• White, Nancy Ellen — Contributor
• White, Samuel Alexander — Contributor
• Whitehead, Douglass — Contributor
• Whiteside, Mary Brent — Contributor
• Widdemer, Margaret — Contributor
• Wierman, Frances — Contributor
• Wilcox, Almira Richardson — Contributor
• Wilkinson, Florence — Contributor
• Willard, Edna Constance — Contributor
• Williams, Oscar — Contributor
• Williams, Reed — Contributor
• Williamson, Estella M — Contributor
• Willian, Ruth H — Contributor
• Wilson, Charlotte Joy — Contributor
• Wilson, Claire — Contributor
• Wilson, Doris G — Contributor
• Wilson, Ethel Brodt — Contributor
• Wilson, Margaret Adelaide — Contributor
• Winn, Mary Day — Contributor
• Winship, Charles — Contributor
• Wolfe, Walter B — Contributor
• Wolverton, Sarah Foss — Contributor
• Wood, Franklin N — Contributor
• Wood, Narcisse — Contributor
• Woodruff, James Lloyd — Contributor
• Woolley, Lawrence Foss — Contributor
• Wright, Muriel — Contributor
• Wylie, Elinor — Contributor
• Yarnell, Esther — Contributor
• Zuker, Anne — Contributor, Reviewer
• Axtell, Elizabeth — Reviewer
• Dixon, James Main — Contributor
• Elliot, William Foster — Contributor, Essayist
• Gaw, Allison — Contributor
• Kimball, D. B — Contributor, Reviewer
• McCormick, Virninia Taylor — Contributor
• McWilliams, Carey — Contributor
• Moreland, John Richard — Contributor
• Painter, Elizabeth — Contributor, Essayist, Reviewer
• Wann, Louis — Contributor
• Williams, Dudley — Contributor, Essayist, Reviewer

Journal

The Lyric West

Volume

Not applicable

Issue number

Not applicable

Issue date

2026

Editor

Brian Kim Stefans

Publisher

Text/Tech Journals

Place of publication

Los Angeles, California

Language

English

Pagination

Reader’s edition: 128 PDF pages.

Record ID

ttj-lyric-west-an-index-of-poets

• Four short poems in ballad quatrains, competent and conventional. The best is Careers, four vignettes of thwarted lives: a dreamer grown old and running the elevator badly, a governess mothering other women’s children, a garage mechanic with “his head among the stars.” Candle Light — Addison, Medora C [Contribution, p. 21]
• Careers — Addison, Medora C [Contribution, p. 23]
• The End — Addison, Medora C [Contribution, p. 6]
• After — Addison, Medora C [Contribution, p. 6]
• Seven short pieces, most of them quatrains in ballad measure, on weather, woodland and quiet moral reflection. Competent and conventional. “The Wind-Break,” on poplars felled once the apple crop came in, is the one that states its loss and refuses to draw the moral Lonely Street — Ainslie, Caroline [Contribution, p. 9]
• Reproof — Ainslie, Caroline [Contribution, p. 4]
• Through the Storm — Ainslie, Caroline [Contribution, p. 22]
• In the Woods — Ainslie, Caroline [Contribution, p. 10]
• Shu-Shula — Ainslie, Caroline [Contribution, p. 10]
• Accomplishment — Ainslie, Caroline [Contribution, p. 15]
• The Wind-Break — Ainslie, Caroline [Contribution, p. 210]
• Short free-verse vignettes, often grouped as suites of three under one head with French or exotic subtitles: Apres-Midi, Chinoiserie, Soir Vert. Imagist in method, five to ten lines, one image, a turn at the close. Settings run to Paris boulevards more often than California Mist — Algert, Bernardine [Contribution, p. 20]
• Song of a Ballerina — Algert, Bernardine [Contribution, p. 9]
• Complaint of a Vagabond — Algert, Bernardine [Contribution, p. 9]
• Encore Printemps — Algert, Bernardine [Contribution, p. 12]
• Valentine — Algert, Bernardine [Contribution, p. 15]
• Harlequin Married — Allen, Dorothy Hoskins [Contribution, p. 14]
• Disseverance — Altrocchi, Julia Cooley [Contribution, p. 18]
• Four poems, one of them long: a narrative in ballad measure where a gentleman flays the flowers along his path, is knifed at his own gate, and the moon ‘shone on them tenderly.’ The other three run four to eight lines apiece, quiet and elegiac Two in a Garden — Ames, Lucile Perry [Contribution, p. 72]
• Morning — Ames, Lucile Perry [Contribution, p. 75]
• Miss Muffet — Ames, Lucile Perry [Contribution, p. 105]
• Fountains Abbey — Ames, Lucile Perry [Contribution, p. 41]
• The Lyric West — Anderson, William H [Contribution, p. 198]
• Anonymous Evening Primroses — Anderson, William H [Contribution, p. 28]
• Fragments — Anderson, William H [Contribution, p. 4]
• The Chinese Dagger — Arata, Oliver S [Contribution, p. 26-27]
• The White Road — Armstrong, Nelchen [Contribution, p. 19]
• Life — Arnstein, Flora J [Contribution, p. 229]
• Chopin — Ashley, Lillah A [Contribution, p. 19]
• Hill Charm — Atkins, Lois [Contribution, p. 22]
• To the Northern Lights — Atkinson, Arthur W [Contribution, p. 19]
• Long-lined narratives that keep a turn for the last line, shepherds who find not sheep but cliff palaces, a house that outwaits the bride it dislikes. Best is the monologue “Mrs. Saml. Pepys Spends an Evening at Home,” rhymed pentameter in close Restoration pastiche, the wife having deciphered the diary Discovery — Aughiltree, Ruth [Contribution, p. 9]
• The Interloper — Aughiltree, Ruth [Contribution, p. 26]
• Who Cannot Hear — Aughiltree, Ruth [Contribution, p. 155]
• April Madness — Aughiltree, Ruth [Contribution, p. 188]
• Mrs. Saml. Pepys Spends an Evening at Home — Aughiltree, Ruth [Contribution, p. 156]
• The Bright Blasphemy — Auslander, Joseph [Contribution, p. 20]
• Someday Your Beauty Will Frighten Death — Auslander, Joseph [Contribution, p. 21]
• Passing—Passing — Auslander, Joseph [Contribution, p. 22]
• Avery, Claribel Weeks [also signed Claribel W. Avery] Five short pieces in rhymed quatrains, each turned on one reversal: the rose that becomes the crown of thorns, a painter in heaven missing earth’s colors, an age that knows less than youth A sonnet has Cinderella hide from the Prince and insist on being sought Rose and Gardener — Auslander, Joseph [Contribution, p. 4]
• The Painter — Auslander, Joseph [Contribution, p. 15]
• Cinderella — Auslander, Joseph [Contribution, p. 24]
• Education — Auslander, Joseph [Contribution, p. 19]
• Brave Beauty — Auslander, Joseph [Contribution, p. 9]
• The Pirate — Axtell, Reeves [Contribution, p. 228]
• The Cripple — Axtell, Reeves [Contribution, p. 67]
• Church Window — Babcock, Charlotte F [Contribution, p. 45]
• The Secret — Bain, Read [Contribution, p. 21]
• My City — Bain, Read [Contribution, p. 12]
• The “Siller” on the Plate — Bainbridge, W. H [Contribution, p. 14]
• The Badger and the “Yaller Dog” — Bainbridge, W. H [Contribution, p. 21]
• The Pearl of a Summer’s Sea — Baird, Leslie E [Contribution, p. 9]
• Blank verse and free verse at some length, chiefly portraits of women: an old woman passed on a street of brownstones, a poet called written out at forty who is held to have chosen children instead. A two-part Porto Rico poem sets tropical catalogue against a love left unspoken The Street of Fine Houses — Baldwin, Faith [Contribution, p. 14]
• Words — Baldwin, Faith [Contribution, p. 5]
• The Silent Singer — Baldwin, Faith [Contribution, p. 25]
• Winter Sunset — Baldwin, Faith [Contribution, p. 71]
• Porto Rico — Baldwin, Faith [Contribution, p. 98]
• From Oklahoma in Autumn — Ball, Elizabeth [Contribution, p. 50]
• The Frogs — Ballard, Charles [Contribution, p. 188]
• Jubal — Ballard, Charles [Contribution, p. 254]
• The Challenge — Ballard, Edward [Contribution, p. 259]
• Two manners. Colloquial ballad quatrains, often comic and spoken in persona: a real-estate agent on old houses, ancestral traits as an army of occupation. Then unrhymed narratives of antiquity, Rachel’s stolen household gods and a Roman garden statue recut into a Madonna En Tour, a Song Sequence — Bancroft, Alberta [Contribution, p. 190]
• The Army of Occupation — Bancroft, Alberta [Contribution, p. 260]
• A Real Estate Agent Makes Inquiry — Bancroft, Alberta [Contribution, p. 286]
• Our Neighbors — Bancroft, Alberta [Contribution, p. 10]
• Heathen Measure — Bancroft, Alberta [Contribution, p. 110]
• Necessity — Bancroft, Alberta [Contribution, p. 122]
• Street of the Wind — Bancroft, Alberta [Contribution, p. 138]
• Lines to a Statue — Bancroft, Alberta [Contribution, p. 186]
• Inheritance — Bancroft, Alberta [Contribution, p. 250]
• Prayer — Bancroft, Alberta [Contribution, p. 21]
• Foreknowledge — Barker, S. Omar [Contribution, p. 19]
• Grey Rain — Barkley, Alice [Contribution, p. 10]
• Make Me Drunken With Color — Barkley, Alice [Contribution, p. 11]
• The Critic — Barnett, Mavis Clare [Contribution, p. 231]
• The Critic — Barnett, Mavis Clare [Contribution, p. 170]
• Wife of a Pioneer — Barnett, Mavis Clare [Contribution, p. 18]
• Immortality — Barr, Henrietta C [Contribution, p. 8]
• A Dune Song — Barr, Henrietta C [Contribution, p. 6]
• The City of Destiny — Barrett, Lilian [Contribution, p. 172]
• Her verse is free verse in numbered panels. “Redondo By The Sea” runs from the fish seller’s dawn to the casino drum at night; “Sequence” sets a marriage beside a house being valued for a loan “Los Angeles” is rhymed and irregular, motor cars against mission bells Sequence — Barrington, Pauline [Contribution, p. 13-16]
• Redondo By The Sea — Barrington, Pauline [Contribution, p. 22]
• Los Angeles — Barrington, Pauline [Contribution, p. 10]
• Manna — Barton, Katharine Marie [Contribution, p. 123]
• Well Seasoned — Bassett, Ruth [Contribution, p. 16]
• The Letter — Batchelor, J. M [Contribution, p. 21]
• Music — Bay, Beulah [Contribution, p. 4]
• And the Dreamers of Dreams — Beck, John Oscar [Contribution, p. 249]
• The First Death — Beebe, Frances [Contribution, p. 24]
• Too Definite I Grow — Beebe, Frances [Contribution, p. 16]
• The Cordilleras — Beede, Lillian Barker [Contribution, p. 18]
• My Desert Cross — Beede, Lillian Barker [Contribution, p. 13]
• Sketches From the Tyrol — Behre, Edwine [Contribution, p. 15]
• Sketches from the Tyrol — Behre, Edwine [Contribution, p. 10]
• Lake Tahoe — Behymer, L. E [Contribution, p. 100]
• Consolation — Bek, Herschelle [Contribution, p. 17]
• Eternal Remembrance — Bek, Herschelle [Contribution, p. 7-8]
• Belknap, Helen Runyon [also signed Helen Runyon Bulknap] The Grand Canyon — Bek, Herschelle [Contribution, p. 10]
• Correspondences — Bek, Herschelle [Contribution, p. 17]
• Sketches from the Tyrol IV — Belvie, Edwine [Contribution, p. 9]
• Old Violin — Benjamin, Isaac [Contribution, p. 19]
• Fashion-Show in Fairyland — Bennett, Joy [Contribution, p. 5]
• Thoughts — Bennett, Joy [Contribution, p. 21]
• To You — Bennett, Joy [Contribution, p. 21]
• In Fabre’s Garden — Bennett, Raine [Contribution, p. 12-13]
• The Romantic — Berenberg, David P [Contribution, p. 75]
• Fragment — Berenberg, David P [Contribution, p. 174]
• The Buoys of Prayer — Berry, Raymond Alvin [Contribution, p. 10]
• Birk, Julia Clara [also signed Julia Birk] Four poems, two of them conceits worked out as small fables: a star-nymph disgraced for treading on the moon’s train, a mermaid clutching at sunset rays that break into shadow in her hands. The mermaid piece is in long-lined rhymed quatrains; the other two, on sunset and dawn, are ordinary Episode — Berry, Raymond Alvin [Contribution, p. 177]
• Sea Song — Berry, Raymond Alvin [Contribution, p. 265]
• Mermaid — Berry, Raymond Alvin [Contribution, p. 52]
• Prayer — Berry, Raymond Alvin [Contribution, p. 74]
• Words — Bishop, Ralph Parker [Contribution, p. 12]
• Amaryllis — Bishop, Ralph Parker [Contribution, p. 6]
• Song of the Reeds — Blackman, Kate [Contribution, p. 8]
• Love’s Departure — Blackman, Kate [Contribution, p. 21]
• Letters — Bohm, Elizabeth [Contribution, p. 48]
• The Silent Dining Room — Bois, Graham Du [Contribution, p. 25]
• Adagio — Boissevain, Mynhart J [Contribution, p. 20]
• Echoes — Booe, Nadine [Contribution, p. 235]
• The Flute Player — Borland, Harold G [Drama, p. 16]
• Poem From “The Wild Heart”—The Malibu Hills—For I Was Wed Today — Bornholdt, Florence Parker [Contribution, p. 26-28]
• My Art Looks Up — Bornholdt, Florence Parker [Contribution, p. 21]
• The Soul of a Woman — Borst, Beatrice West [Contribution, p. 11]
• My Neighbor’s Journey — Borst, Beatrice West [Contribution, p. 10]
• Under the Live-Oak Tree — Borst, Richard Warner [Contribution, p. 19]
• Springs of Life — Borst, Richard Warner [Contribution, p. 247]
• Four poems printed six times, the magazine rerunning “Sunset” and “Life” verbatim three years on. Each is a single figure held for six or eight lines, love arriving as a well-mannered guest who plants larkspur and leaves. One rhymed song is addressed to a south wind Song of a Mountain Flower — Bostick, Louise Stedman [Contribution, p. 7]
• The Visitor — Bostick, Louise Stedman [Contribution, p. 13]
• Sunset — Bostick, Louise Stedman [Contribution, p. 20]
• Life — Bostick, Louise Stedman [Contribution, p. 20]
• Sunset [printed again] — Bostick, Louise Stedman [Contribution, p. 223]
• Life [printed again] — Bostick, Louise Stedman [Contribution, p. 278]
• Sanctuary — Bostwick, G. G [Contribution, p. 25]
• Boswell, Alaine B. [also signed Alaine Boswell] In a Cathedral — Bostwick, G. G [Contribution, p. 45]
• The Pool of the Dryads — Bostwick, G. G [Contribution, p. 251]
• Beggars — Boulton, Hilda Brann [Contribution, p. 11]
• Aerial — Bowles, O. J [Contribution, p. 18]
• Clouds — Bowles, O. J [Contribution, p. 18]
• Walls — Bowles, O. J [Contribution, p. 15]
• Bradley, Doris L. [also signed Doris Lucile Bradley] The Bondage Breaker — Bowles, O. J [Contribution, p. 296]
• You are Flame thro’ my Heart — Bowles, O. J [Contribution, p. 195]
• Hill Lament — Bowles, O. J [Contribution, p. 135]
• To a Humming-Bird — Bradley, Virginia Burton [Contribution, p. 25]
• Gathering Figs — Bradley, Virginia Burton [Contribution, p. 23]
• The Portrait — Brady, Emeline Margaret [Contribution, p. 9]
• Eyes — Braithwaite, William Stanley [Contribution, p. 28]
• The Hanging House — Braithwaite, William Stanley [Contribution, p. 28]
• An Old Moon — Braithwaite, William Stanley [Contribution, p. 6]
• Still Life — Bremer, Anne [Contribution, p. 22]
• Red Embers — Brewer, Wheaton Hale [Contribution, p. 23]
• Equinox — Brewer, Wheaton Hale [Contribution, p. 23]
• Sea Thought — Brewer, Wheaton Hale [Contribution, p. 21]
• Brewer, William A., Jr. [also signed William A Brewer] A Palimpsest — Brewer, Wheaton Hale [Contribution, p. 292]
• Marionette-Play — Brewer, Wheaton Hale [Drama, p. 163]
• Harbor Dusk — Bright, Verne [Contribution, p. 130]
• The Bluebird — Bright, Verne [Contribution, p. 154]
• Brintnall, Edna Goit [also signed Edna Goit Briatnall] Songs of the Wanderlust — Bright, Verne [Contribution, p. 4-5]
• Chinatown — Bright, Verne [Contribution, p. 19]
• Deathless — Bright, Verne [Contribution, p. 17]
• A Woman Looks at Weather — Brooks, Olive [Contribution, p. 77]
• Perfect Happiness — Brownell, Evelyn B [Contribution, p. 221]
• At Shut of Evening Flowers — Buckley, Nancy [Contribution, p. 12]
• Laughter and Lenging — Buckley, Nancy [Contribution, p. 23]
• Sacrament — Bunch, Andred W [Contribution, p. 20-21]
• I Rejoice that the Swallow — Burgess, Robert Louis [Contribution, p. 17]
• Seeing — Burnap, Naneen [Contribution, p. 177]
• Lone Willow — Burnet, Dana [Contribution, p. 160]
• Moon-Storm — Burnet, Dana [Contribution, p. 220]
• Apercus — Burton, Richard [Contribution, p. 3]
• Spring in the Park — Burton, Richard [Contribution, p. 3-4]
• Interpretations After Music — Bush, Grace E [Contribution, p. 159]
• The Lost Heart — Byers, S. H. M [Contribution, p. 26]
• Treasure — Caie, Harriet [Contribution, p. 4]
• Calkins, Thomas T. [also signed Thos. V. Calkins] The Sand Devil — Caie, Harriet [Contribution, p. 9]
• A Southwestern Day Cycle — Caie, Harriet [Contribution, p. 9]
• Wasted Years — Call, Jessie [Contribution, p. 45]
• A Gift — Callaghan, Gertrude [Contribution, p. 14]
• Southwestern matter, arroyos, pinon, greasewood, “the big black zahuaros,” moonlight on broken buttes, carried in Songs of the Desert on a long fourteener swing. On the Pecos opens by hating the land and takes thirty lines to recant. The other three are plain ballad quatrains On the Pecos — Calland, Annice [Contribution, p. 11]
• Songs of the Desert — Calland, Annice [Contribution, p. 22]
• My Debt to You — Calland, Annice [Contribution, p. 15]
• The Derelict — Calland, Annice [Contribution, p. 274]
• The Sea at Carrenage — Calland, Annice [Contribution, p. 75]
• Blue — Campbell, Amy [Contribution, p. 72]
• Vachel Lindsay—Collected Poems — Campbell, Lily B [Contribution, p. 27]
• The Vase — Carrington, Mary Coles [Contribution, p. 21]
• To a Young Idealist — Cartwright, Dorothy Hawley [Contribution, p. 26]
• The Passing — Cartwright, Dorothy Hawley [Contribution, p. 40]
• To a Girl in a Blue Dress — Cartwright, Dorothy Hawley [Contribution, p. 152]
• Marching Rocks — Caruthers, Mazie V [Contribution, p. 14]
• The Cantico del Sole of Francesco D’Assisi — Cavallara, Lilian White Spencer and Louis [Contribution, p. 2]
• Four free-verse pieces, all from 1927. The habit is to stack exotic similes, pagoda, lotus, panther-skin, around a moon that turns up miniature, a scarlet butterfly fluttering on a lily Life — Chaffee, Porter Myron [Contribution, p. 146]
• I Have No Memory of Your Face — Chaffee, Porter Myron [Contribution, p. 190]
• Dialogue — Chaffee, Porter Myron [Contribution, p. 199]
• Death Thoughts of a Pantheist — Chaffee, Porter Myron [Contribution, p. 15]
• Lines to Mount Rainier — Chamberlain, Lowell C [Contribution, p. 16]
• To Edna, Pointing Out Pictures — Chamberlain, Will [Contribution, p. 76]
• The Sweet Smell of Lumber — Cheney, Harvey D [Contribution, p. 19]
• Love’s Ritual — Cheney, Ralph [Contribution, p. 43]
• Cherry, Marjorie Loomis [also signed M. L. Cherry] A Ride — Cheney, Ralph [Contribution, p. 23]
• Coming Home — Cheney, Ralph [Contribution, p. 26]
• Childs, Dorothea Myrto [also signed Dorothea Myrtle Childs] Deferred — Cheney, Ralph [Contribution, p. 7]
• Awakened Love — Cheney, Ralph [Contribution, p. 4]
• One Russet-Brown Tree — Cheney, Ralph [Contribution, p. 13]
• Awakening — Chipp, Elinor [Contribution, p. 128]
• Discovery — Cise, Ethel Van [Contribution, p. 8]
• San Diego Bay — Cise, Ethel Van [Contribution, p. 20]
• Honey 3300 Years Old — Clapp, Mary Brennan [Contribution, p. 19]
• Two Poems — Clapp, Mary Brennan [Contribution, p. 202]
• Pro-Cathedral — Clapp, Mary Brennan [Contribution, p. 10]
• I Am Your Lover — Clark, Allen [Contribution, p. 16]
• Triumph — Clark, Etha Jeanne [Contribution, p. 39]
• Hai-Kai — Clercq, Jacques Le [Contribution, p. 205]
• Thirteenth Labor — Clercq, Jacques Le [Contribution, p. 261]
• To the Cactus Bloom — Clough, F. Gardner [Contribution, p. 101]
• Ballad of the Scotty Mine — Clough, Wilson O [Contribution, p. 42]
• Two Poems — Vintage of 1918 — Clough, Wilson O [Contribution, p. 268]
• To One Grown Blasé — Clough, Wilson O [Contribution, p. 309]
• Unto the Hills — Clute, Doris [Contribution, p. 249]
• Diathesis — Coates, Grace Stone [Contribution, p. 226]
• Coatsworth, Elizabeth J. [also signed Elizabeth Coatsworth; Elizabeth G. Coatsworth] The most various hand in this group: a free-verse catalogue that makes mountains and rivers into persons; a Pueblo dance whose stage action is answered in parentheses by the mesa; five blank-verse lines on a dead friar’s sandals; a murder ballad whose stanzas all rhyme alike. Exact about objects, unsentimental The Ravens — Coates, Grace Stone [Contribution, p. 22]
• The Mystic — Coates, Grace Stone [Contribution, p. 14]
• The Dance — Coates, Grace Stone [Contribution, p. 4]
• The Three Gifts — Coates, Grace Stone [Contribution, p. 11]
• The Sandals of Fra Junipero Serra — Coates, Grace Stone [Contribution, p. 8]
• The Sword of Alvarado — Coates, Grace Stone [Contribution, p. 8]
• Poem to Sleep — Coates, Grace Stone [Contribution, p. 8]
• The Crows of Bayeux — Coates, Grace Stone [Contribution, p. 7]
• Liberated — Cobb, Mabel Ruggles [Contribution, p. 278]
• After Life — Coblentz, Stanton A [Contribution, p. 22]
• Memory and Dream — Coblentz, Stanton A [Contribution, p. 23]
• Another Sunset — Coffin, Helen Lockwood [Contribution, p. 100]
• An Offering — Cole, Vera Heathman [Contribution, p. 23]
• Three poems, each different in kind: a Shakespearean sonnet on a motherless boy, a warning in ballad quatrains to a girl’s lover, and a spring storm figured as a hoyden whom the city eyes as the Elders eyed Susannah Motherless — Collins, Dorothy E [Contribution, p. 10]
• Spring Storm — Collins, Dorothy E [Contribution, p. 3]
• To The Lover of Any Girl — Collins, Dorothy E [Contribution, p. 14]
• Night Song — Collins, Dorothy S [Contribution, p. 5]
• On the Arrival of Mary — Collins, Jeannette M [Contribution, p. 11]
• Fulfilled — Collins, Kenneth L [Contribution, p. 22]
• Fusion — Colson, Ethel M [Contribution, p. 24]
• Choice — Colter, Elizabeth [Contribution, p. 11]
• Anesthetic — Conant, Isabel Fiske [Contribution, p. 298]
• Songs of Time, Space, and Values — Conant, Isabel Fiske [Contribution, p. 218]
• The Breeze — Conner, Sabra [Contribution, p. 5]
• Twilight at Dolores — Connor, Torrey [Contribution, p. 16]
• Poinsettias — Connor, Torrey [Contribution, p. 13]
• The Romancer — Conrard, Harrison [Contribution, p. 6]
• The Flight Through the Desert — Cook, Alice Carter [Contribution, p. 21]
• Love at First Sight — Cook, Alice Carter [Contribution, p. 109]
• Green Corn Dance — Cook, Sarah Marie [Contribution, p. 40]
• Tom — Cooksley, S. Bert [Contribution, p. 169]
• Judas Iscariot — Cooksley, S. Bert [Contribution, p. 212]
• Forests — Cooksley, S. Bert [Contribution, p. 144]
• Stanza — Coolbrith, Ina [Contribution, p. 11]
• Four poems: three Petrarchan sonnets, two of them tributes to living English writers and frank in their imperial enthusiasm, Kipling hailed as ‘celebrant of British Empire vast,’ one on the ruins of Petra. The fourth catalogues world travel in long couplets and settles on California Sonnet—To Rudyard Kipling — Cooper, Belle [Contribution, p. 20]
• The Quest — Cooper, Belle [Contribution, p. 22]
• Sonnet — Cooper, Belle [Contribution, p. 18]
• Sonnet: To Alfred Edward Housman — Cooper, Belle [Contribution, p. 102]
• Motor Cars at Night — Cooper, Frances L [Contribution, p. 20]
• The Blue Places — Cooper, Frances L [Contribution, p. 24]
• White Burial — Corning, Howard McKinley [Contribution, p. 3]
• Transformation — Corning, Howard McKinley [Contribution, p. 23]
• Birds of Thought — Corning, Howard McKinley [Contribution, p. 211]
• The Tiger — Cowan, Sada [Contribution, p. 23]
• To a Bit of Jade — Cowan, Sada [Contribution, p. 23]
• An Egyptian Love Song — Cowan, Sada [Contribution, p. 5]
• The Home Nest — Cowdin, Jasper Barnett [Contribution, p. 18]
• Moods — Cowdin, Jasper Barnett [Contribution, p. 17]
• Betrayed — Cowdin, Jasper Barnett [Contribution, p. 225]
• Greasewood — Crank, Gertrude [Contribution, p. 3]
• Distance — Cresson, Abigail [Contribution, p. 9]
• My Field — Cresson, Abigail [Contribution, p. 9]
• Mount Hamilton — Crever, Anna Rozilla [Contribution, p. 21]
• The Century Plant — Crever, Anna Rozilla [Contribution, p. 13]
• Poems — Crowell, Grace Noll [Contribution, p. 9]
• Mountain Sketches — Crowell, Grace Noll [Contribution, p. 13]
• Yosemite — Crum, Ethel [Contribution, p. 14]
• Seven poems whose recurring argument is a refusal to be held still, by a lover, by a house, by death. Forms vary: hymn quatrains, a long-lined catalogue of a shabby dwelling, and a blank-verse monologue in which ancestral voices command her to “be no woman, but a voice.” The Captive — Cunningham, Nora B [Contribution, p. 23]
• There’s a Wide Sky — Cunningham, Nora B [Contribution, p. 12]
• Surely I May Come Back — Cunningham, Nora B [Contribution, p. 22]
• A Voice — Cunningham, Nora B [Contribution, p. 3]
• Descent — Cunningham, Nora B [Contribution, p. 5]
• Earth’s Sweetness — Cunningham, Nora B [Contribution, p. 19]
• The Wind — Cunningham, Nora B [Contribution, p. 14]
• The Seeding — Curran, Lucy A [Contribution, p. 26-27]
• Curran, Pauline Garner [also signed Pauline Curran] Five poems in three borrowed idioms: Japanese miniatures of four to six lines, a koto and a shadow on a shoji; a rhymed twelve-line personification of dawn as a girl running from the moon; and a Donegal ballad in long quatrains, spelled with dropped g’s throughout A Lighthouse — Curran, Lucy A [Contribution, p. 23]
• Neisau — Curran, Lucy A [Contribution, p. 23]
• Shadows — Curran, Lucy A [Contribution, p. 23]
• The Running Dawn — Curran, Lucy A [Contribution, p. 143]
• A Lad of Londonderry — Curran, Lucy A [Contribution, p. 82]
• Blarney and Blather — Curran, Lucy A [Contribution, p. 170]
• A Little Tune o’ Tears — Curran, Lucy A [Contribution, p. 41]
• A Pastel — Curtin, Leonora F [Contribution, p. 19]
• The First Visit — Curtin, Leonora F [Contribution, p. 19]
• Sacrilege — Curtiss, Edith Clarke [Contribution, p. 136]
• The Wind Bloweth Where It Listeth — Dabney, Julia P [Contribution, p. 25]
• Short poems, eight to sixteen lines, in loose ballad quatrains rhyming abcb, on lost love, wind and stillness. The method is fixed: a plainly worded opening turned in the last two lines to a bleak reversal, “Always I hear rain falling upon my grave.” Ellipses everywhere Twilight — Dalton, Power [Contribution, p. 15]
• My Thoughts — Dalton, Power [Contribution, p. 15]
• Triumph — Dalton, Power [Contribution, p. 7]
• I Will Be Still — Dalton, Power [Contribution, p. 15]
• It Was a Wind — Dalton, Power [Contribution, p. 6-7]
• Finite — Dalton, Power [Contribution, p. 12]
• Circle — Dalton, Power [Contribution, p. 12]
• Breath of the Honeysuckle — Dalton, Power [Contribution, p. 50]
• L’Inevitable — Dalton, Power [Contribution, p. 90]
• Beyond — Darlow, Gertrude E [Contribution, p. 14]
• Non Mihi Solus — Davidson, Gustav [Contribution, p. 21]
• Autumn Portrait — Davidson, Gustav [Contribution, p. 7]
• Best in the Italian sonnet: one dated 1769 puts the San Antonio’s sails off Point Loma and the Coahuillas kneeling at La Playa; another spends fourteen lines cataloguing the colors of girls’ dancing slippers. Elsewhere a four-part song suite and a ballad of three refused suitors Four Songs for Two Young Lovers — Davidson, Winifred [Drama, p. 4]
• Choice — Davidson, Winifred [Contribution, p. 39]
• April Afternoon, Point Loma — Davidson, Winifred [Contribution, p. 141]
• Evening Slippers — Davidson, Winifred [Contribution, p. 241]
• City Sunrise — Davidson, Winifred [Contribution, p. 138]
• In Storm — Davidson, Winifred [Contribution, p. 139]
• Summer Sketches of Southern California — Davie, Elizabeth [Contribution, p. 18]
• Davies, Mary Carolyn [also signed Mary Caroline Davies] Fourteen poems, most of them short-lined rhymed lyrics that repeat an opening phrase as refrain and close on an epigram: Eden as the prison the apple unlocked, a white blackbird’s complaint to God. A Week-End Dance threads Byron’s Waterloo stanza through a modern dance floor Lake Coeur d’Alene — Davie, Elizabeth [Contribution, p. 4]
• “Donna, Mona, Doris, Dolf, Sybil, Marna, Maeve—” — Davie, Elizabeth [Contribution, p. 5]
• A Week-End Dance — Davie, Elizabeth [Contribution, p. 18]
• The Wind’s a Tramp — Davie, Elizabeth [Contribution, p. 10]
• The Lost Gift — Davie, Elizabeth [Contribution, p. 19]
• The Night Is Kind — Davie, Elizabeth [Contribution, p. 12]
• The Terrible Gift — Davie, Elizabeth [Contribution, p. 163]
• Eden Was a Prison — Davie, Elizabeth [Contribution, p. 229]
• The Death of a Sun — Davie, Elizabeth [Contribution, p. 295]
• Prayer of a White Blackbird — Davie, Elizabeth [Contribution, p. 197]
• Moss Agate — Davie, Elizabeth [Contribution, p. 216]
• The Laughter of the Sea — Davie, Elizabeth [Contribution, p. 241]
• Immortality — Davie, Elizabeth [Contribution, p. 286]
• Mother Autumn — Davie, Elizabeth [Contribution, p. 1]
• Amalfi, Italy — Davis, Dorcas [Contribution, p. 54]
• Songs of a Little Boy — Davis, Julia Johnson [Contribution, p. 8]
• Return — Davis, Julia Johnson [Contribution, p. 8]
• Magic — Davis, Martha [Contribution, p. 44]
• de Ford, Miriam Allen Unusually various: a sonnet to Shelley, a ballad in long refrained lines, quatrains thanking fate that Keats died young, and best of all a blank-verse monologue for Giovanni Malatesta, lame and jealous, which sustains its speaker’s argument over sixty lines without slackening Santa Cruz — Davis, Martha [Contribution, p. 15]
• A City Night — Davis, Martha [Contribution, p. 16]
• A Sonnet to Shelley — Davis, Martha [Contribution, p. 16]
• A Peasant Girl — Davis, Martha [Contribution, p. 9]
• Summum Donum — Davis, Martha [Contribution, p. 21]
• Giovanni Malatesta — Davis, Martha [Contribution, p. 236]
• The Loveliest Things — Davis, Martha [Contribution, p. 37]
• All Passes — Davis, Martha [Contribution, p. 161]
• de l’Abrie Richey, Rubaix Streetscape — Davis, Martha [Contribution, p. 15]
• de Mille, Anna George The Record — Davis, Martha [Contribution, p. 206]
• de Mille, William C Dreams, a Playlet in One Act — Davis, Martha [Drama, p. 21-25]
• Long Nook — Dean, Agnes Louise [Contribution, p. 11]
• deFord, Miriam Allen At Night — Dean, Agnes Louise [Contribution, p. 22]
• Footsteps — Dean, Agnes Louise [Contribution, p. 12]
• Lady of Morning — Dean, Agnes Louise [Contribution, p. 26]
• San Marino Ranch — Denis, Alberta Johnston [Contribution, p. 19]
• Writes long, and mostly not lyric: blank-verse dramatic monologues spoken by a deranged scientist, a frost-ruined farmer and a sailor come from Madame Butterfly; ballad quatrains of range contest and mountain feud; long-lined public chants on the westward march. Narrative and speech interest her more than song A Song of Three Harbors — Dennen, Grace Atherton [Drama, p. 21-22]
• Poems of Every Day—The New House and the Old — Dennen, Grace Atherton [Contribution, p. 15-17]
• Moments — Dennen, Grace Atherton [Contribution, p. 14]
• The Awakening — Dennen, Grace Atherton [Contribution, p. 14]
• Pastels — Dennen, Grace Atherton [Contribution, p. 23]
• The Frost — Dennen, Grace Atherton [Contribution, p. 7]
• April Magic — Dennen, Grace Atherton [Contribution, p. 5]
• The Riding of Peaceful Henry — Dennen, Grace Atherton [Contribution, p. 25]
• The End of the Feud — Dennen, Grace Atherton [Contribution, p. 18]
• I Hope That I Remember — Dennen, Grace Atherton [Contribution, p. 20]
• Beginnings — Dennen, Grace Atherton [Contribution, p. 3-4]
• The Book of the White Birch — Denny, Eleanor M [Contribution, p. 12]
• The Destroyer — Denny, Eleanor M [Contribution, p. 14]
• “Now Speak of Love No More” — Deutsch, Babette [Contribution, p. 10]
• Chess — Deutsch, Babette [Contribution, p. 15]
• Kwannan — Dewing, Andrew [Contribution, p. 19]
• Dexter, Ernest [also signed E. G. Dexter] Six poems fixed on the Suisun marshes and Carquinez Strait, in irregularly rhymed lines of varying length; one is a pure imagist inventory of a slough at noon. Elsewhere he reads the coastal hills as a woman’s body with Mount Diablo her thwarted suitor Early Morning at Suisun — Dewing, Andrew [Contribution, p. 10]
• High Noon on the Slough — Dewing, Andrew [Contribution, p. 11]
• Late Evening at Suisun — Dewing, Andrew [Contribution, p. 11]
• Waved a Blade — Dewing, Andrew [Contribution, p. 9]
• Sidney Lanier — Dewing, Andrew [Contribution, p. 11]
• Summer Shower — Dewing, Andrew [Contribution, p. 20]
• Lew Sarett, “Shaggy Rambler” Essay — Dillard, Hazelle [Essay, p. 76]
• Four of the five are sonnets of unusual finish; the rhymes are exact but the sense runs hard across them, and the alliteration is pressed to the edge of comedy, “my poorest palest plum, my paltriest pear.” The argument returns to the fear that wisdom will cost him wonder Three Sonnets — Dillon, George H [Contribution, p. 106]
• New Century — Dillon, George H [Contribution, p. 199]
• For All Brothers in Youth — Dillon, George H [Contribution, p. 230]
• Gipsy — Dillon, George H [Contribution, p. 284]
• Penalty — Dillon, George H [Contribution, p. 300]
• To a Roman Tear-Bottle Found Near Tyre — Doane, Gilbert Harry [Contribution, p. 29]
• Arena — Donovan, Lois [Contribution, p. 282]
• Language — Dow, Elizabeth La [Contribution, p. 29]
• On the Road to Abley Hill — Drake, Dorothy [Contribution, p. 231]
• Now That He Sleep — Drake, Sidney [Contribution, p. 9]
• Santa Teresa — Drake, Sidney [Contribution, p. 287]
• Compatibility — Dravo, Margaret Duncan [Contribution, p. 143]
• Rainy Sunday — Dravo, Margaret Duncan [Contribution, p. 175]
• Hands — Dravo, Margaret Duncan [Contribution, p. 108]
• Dresbach, Glenn Ward [also signed G. W. Dresbach; Glen Ward Dresbach] Nine poems of the desert Southwest and of Panama: ballad quatrains, a blank-verse portrait of a rancher who bought a ranchman’s hat to make himself brave, terza rima for the Painted Desert. Mineral diction, malachite and feldspar, and a firm unpadded line The Game—Panama — Dravo, Margaret Duncan [Contribution, p. 16]
• The Lizard on the Ledge — Dravo, Margaret Duncan [Contribution, p. 17]
• Mountain Water Song — Dravo, Margaret Duncan [Contribution, p. 10]
• The Road — Dravo, Margaret Duncan [Contribution, p. 25]
• Mountain Pasture — Dravo, Margaret Duncan [Contribution, p. 18]
• Victor Watson—The Rancher — Dravo, Margaret Duncan [Contribution, p. 5]
• The Painted Desert — Dravo, Margaret Duncan [Contribution, p. 5]
• Storm-Rain Songs — Dravo, Margaret Duncan [Contribution, p. 7]
• The Better Ship—Panama Vol. III No. 7 · Nov. 1923 6-7-8 A Cock Crows Near the Desert — Dravo, Margaret Duncan [Contribution, p. 17]
• Desert Morning — Dravo, Margaret Duncan [Contribution, p. 15]
• In Babylon — Driscol, Marjorie Charles [Contribution, p. 10]
• Evening in the West — Drury, John [Contribution, p. 7]
• Hurried — Drury, John [Contribution, p. 7]
• Spell of Granite — Drury, John [Contribution, p. 6]
• du Cros, Leslie-Leigh Home Coming — Drury, John [Contribution, p. 22]
• Forever and Ever — Dunbar, Aldis [Contribution, p. 27]
• Felis Domestica — Dustan, Richard [Contribution, p. 204]
• Romany — Dye, Harvey Sellers [Contribution, p. 6]
• Short and largely conventional: three snatches of song on evening and on naming a beauty, two quatrains of poplars gone into the mist, three envelope-rhymed stanzas for Christmas Eve. The exception is eight tetrameter couplets in which buildings, patient for years, get their turn to dance in an earthquake Snatches of Song — Eddy, Rosamond [Contribution, p. 4]
• Twlight Wonder — Eddy, Rosamond [Contribution, p. 7]
• Christmas Eve — Eddy, Rosamond [Contribution, p. 91]
• Earthquake — Eddy, Rosamond [Contribution, p. 43]
• Night-riding — Edwards, Jennette [Contribution, p. 214]
• Fear — Edwards, Jennette [Contribution, p. 308]
• Free verse in short unrhymed lines, most of it spoken by or about invented Chinese sages, To Fo, Ku Hung, Emperor T’ang, who bargain with deity, doubt resurrection and drink wine to make immortality credible. The similes are elaborate and the endings deflate. Two brief pieces drop the frame To Fo Bargains With Deity — Eldridge, Paul [Contribution, p. 22]
• Ku Hung Refutes His Friend — Eldridge, Paul [Contribution, p. 14]
• Yan Yi Explains Creation — Eldridge, Paul [Contribution, p. 14]
• Tsi Ouan Wishes to Believe in Resurrection — Eldridge, Paul [Contribution, p. 15]
• Emperor T’ang—Skeptic — Eldridge, Paul [Contribution, p. 15]
• Defiance — Eldridge, Paul [Contribution, p. 25]
• You — Eldridge, Paul [Contribution, p. 25]
• To Fo—Passé — Eldridge, Paul [Contribution, p. 27]
• Elliot, William Foster [also signed William Foster Elliott] Three poems and one prose essay arguing, after Sophocles, that realism kills art. The verse is abstract and rhetorical: an allegory of Art as a scourged woman in alternating long and short quatrains, a couplet epistle to a dancer, and a Petrarchan sonnet on desert nightfall Ars Immortalis — Eldridge, Paul [Essay, p. 17]
• Defeat — Eldridge, Paul [Contribution, p. 13]
• To Eleanor from the City — Eldridge, Paul [Contribution, p. 13]
• In Your Dressing Room — Eldridge, Paul [Contribution, p. 18]
• Desert Dusk — Eldridge, Paul [Contribution, p. 1923]
• Six poems built on persona and parable: a long dramatic monologue for a jazz orchestra’s singer, in syncopated quatrains that set her black ancestry against a white audience; an incantatory chant in the voice of the unsown Western land; and short rhymed pieces that end in a sting Prima Donna of the Negro Jazz Orchestra — Elliott, Ellen Coit [Drama, p. 22]
• Song of the Waiting Land — Elliott, Ellen Coit [Contribution, p. 6]
• Taurus — Elliott, Ellen Coit [Contribution, p. 12]
• Tag — Elliott, Ellen Coit [Contribution, p. 5]
• The Beggar — Elliott, Ellen Coit [Contribution, p. 10]
• The Garlanded Sword — Elliott, Ellen Coit [Contribution, p. 6]
• The Ideal — Elmendorf, Mary J [Contribution, p. 169]
• Kind David Lay Dying — Elmendorf, Mary J [Contribution, p. 2]
• The Hermit of Crescent Bay — Emerson, Gareth [Contribution, p. 8]
• April at the Grand Canyon — Etter, Kirby [Contribution, p. 197]
• O Love That is Born of the Moon and a Flower — Evans, Lucile [Contribution, p. 9]
• The Man of One Poem — Everett, Laura Bell [Contribution, p. 23]
• From the Water Comes the Fire — Everett, Laura Bell [Contribution, p. 40]
• No settled manner: a seven-line imagist squib on a juggler, an apostrophe to a glass door-knob, ballad quatrains on flowers. The weight is in A Name, sixty-odd lines of loosely rhymed pentameter narrative opening and closing on the same deathbed and its misremembered name To a Glsss Door-knob — Fagin, N. Bryllion [Contribution, p. 16]
• 1 Sometimes Gaze — Fagin, N. Bryllion [Contribution, p. 16]
• A Name — Fagin, N. Bryllion [Contribution, p. 18]
• Legerdemain — Fagin, N. Bryllion [Contribution, p. 225]
• September Nights — Farkasch, Hazel [Contribution, p. 15]
• Alone — Farkasch, Hazel [Contribution, p. 21]
• Waiting — Farkasch, Hazel [Contribution, p. 21]
• Farwell, Gertrude Brice [also signed Gertrude Farwell] All free verse, exclamatory: apostrophes to Earth and to a capitalized Thou, and a sequence in a child’s voice about a mother’s singing heart. Much the largest is “Francesca,” a monologue of some hundred and fifty lines spoken from Dante’s wind and addressed to Paolo Soul of Earth — Farkasch, Hazel [Contribution, p. 8]
• Liberated — Farkasch, Hazel [Contribution, p. 9]
• Mother-Heart Songs — Farkasch, Hazel [Contribution, p. 8]
• Resurrection — Farkasch, Hazel [Contribution, p. 185]
• Francesca — Farkasch, Hazel [Contribution, p. 32]
• Four poems, all rhymed and carefully built: a ghost-ship ballad whose narrator turns out to wear the phantom captain’s frown, a sonnet made of factory and freight-train whistles, and a long farewell in fourteen-line stanzas that each close by echoing their own opening lines Voyagers — Faust, Henri [Contribution, p. 178]
• White Requiem — Faust, Henri [Contribution, p. 101]
• Whistles — Faust, Henri [Contribution, p. 198]
• Autumn Threshold — Faust, Henri [Contribution, p. 284]
• Voices of the Cities — Fay, Alice [Contribution, p. 10-11]
• I, the Tao — Fay, Alice [Contribution, p. 116]
• Foam — Fay, Alice [Contribution, p. 248]
• The Old Quarry — Feldman, Jesse Hugo [Contribution, p. 25]
• Into Your Beautiful Stillness — Felt, Seth Jehiel [Contribution, p. 81]
• Pastoral Song — Felt, Seth Jehiel [Contribution, p. 171]
• Spring in Spain — Felt, Seth Jehiel [Contribution, p. 201]
• Five Lyrics — Fenner, Beatrice [Contribution, p. 86]
• Desert Interval—Spring Snow — Ferl, Emily [Contribution, p. 10]
• The Eye Is Not Filled With Seeing — Ferl, Emily [Contribution, p. 15]
• Reply to Melancholy — Ferl, Emily [Contribution, p. 12]
• Regular rhymed stanzas, exclamatory and apostrophic, on subjects of development and commerce: the Salton Sea reclaimed for harvest, a banquet toast to “crude virgin oil,” the failing Long Wharf at Port Los Angeles. The manner is that of public occasional verse rather than of lyric Salton Sea — Field, Ben [Contribution, p. 24]
• Oil — Field, Ben [Contribution, p. 11]
• The Passing of the Long Wharf at Port Los Angeles — Field, Ben [Contribution, p. 20]
• Winged Victory — Field, Ben [Contribution, p. 22]
• Paso del Norte at the Rio Grande — Field, Ben [Contribution, p. 51]
• Swords — Field, Ben [Contribution, p. 144]
• Purple Veins — Field, Mildred Fowler [Contribution, p. 52]
• A Woman on the Shore — Field, Mildred Fowler [Contribution, p. 259]
• Sum — Field, Sara Bard [Contribution, p. 91]
• Eleven poems, mostly rhymed quatrains with a few free-verse pieces, the diction still reaching for thy and mayhap. Two turn on love across the color line broken by ‘the pride of race’; others take up a grinning skull, a garden hymn with refrain, the soul as a cold nun To a Skull — Field, Wright [Contribution, p. 7]
• The Vision — Field, Wright [Contribution, p. 20]
• Dreams — Field, Wright [Contribution, p. 21]
• Flower-o’-the-Wind — Field, Wright [Contribution, p. 8]
• Lilac-Time — Field, Wright [Contribution, p. 29]
• The Maple Sings — Field, Wright [Contribution, p. 29]
• Death’s Gift — Field, Wright [Contribution, p. 25]
• The Soul of a Garden — Field, Wright [Contribution, p. 5]
• Impressions — Field, Wright [Contribution, p. 14]
• To a High-Born Lady — Field, Wright [Contribution, p. 24]
• Embers — Field, Wright [Contribution, p. 28]
• Indian Summer — Fitzbucke, E. G [Contribution, p. 14]
• On Recollecting the Names of Certain Ladies Mentioned in the Odes of Horace — Fitzwilliam, G. William [Contribution, p. 8]
• Sonnet — Flanner, Hildegarde [Contribution, p. 18]
• Dumb — Flanner, Hildegarde [Contribution, p. 18]
• Prophecy — Flexner, Hortense [Contribution, p. 5]
• When Next You Come — Flohr, Natalie [Contribution, p. 20]
• Because — Flower, Jaen [Contribution, p. 217]
• To One Named Rue — Folliard, Hugo [Contribution, p. 25]
• Contemporary Literature — Folliard, Hugo [Contribution, p. 13]
• Redolence — Foote, Elvira [Contribution, p. 13]
• June in the Arctic — Forrest, Elizabeth Chabot [Contribution, p. 224]
• An Indian Lover Sings — Forster, George F [Contribution, p. 7]
• Forsyth, Alice Whitcraft [also signed Alice Whitecraft Forsyth] The Rose, The Wind and The Rain — Forster, George F [Contribution, p. 20]
• September Dusk in the Arroyo — Forster, George F [Contribution, p. 6]
• Sowing the Hemp Seed — Forster, George F [Contribution, p. 48]
• The Birth of a Fool — Forté, Alice [Contribution, p. 71]
• Two Lyrics — Forté, Alice [Contribution, p. 118]
• Joyous — Foster, Kate Quinan [Contribution, p. 7]
• Mostly sonnets, rhymed in the English pattern but freely enjambed, and nearly all on one subject: night, fog and sea, worked through abstract nouns of silence, quiet and peace. Two exceptions are short-lined quatrain conceits, the city as caged tiger, travelers refusing a “grass-bound prison.” Ultimate — Frazee-Bower, Helen [Contribution, p. 24]
• Night and the Sea — Frazee-Bower, Helen [Contribution, p. 25]
• Night Silence — Frazee-Bower, Helen [Contribution, p. 17]
• There Is No Word — Frazee-Bower, Helen [Contribution, p. 3]
• Sea Gulls — Frazee-Bower, Helen [Contribution, p. 3]
• Sea Lover — Frazee-Bower, Helen [Contribution, p. 4]
• The Tiger City — Frazee-Bower, Helen [Contribution, p. 16]
• Travelers — Frazee-Bower, Helen [Contribution, p. 16]
• New Beauty — Frazee-Bower, Helen [Contribution, p. 17]
• Winter Night in San Francisco Harbor — Frazee-Bower, Helen [Contribution, p. 16]
• Doubt is a Gray Moth — Frazee, Betty Dickinson [Contribution, p. 14]
• Two Lyrics — Frazee, Betty Dickinson [Contribution, p. 142]
• Desert Suite — Frazee, Isaac Jenkinson [Contribution, p. 14]
• Life’s Shoes — Frye, Grace [Contribution, p. 6]
• That Day — Fuller, Elinor [Contribution, p. 145]
• Short rhymed quatrains and couplets, each built on one sustained figure or a catalogue of equivalences: colors matched to feelings, a verse, the new Willamette bridge being “a nude boy leaping a stream.” Remembered Things — Fuller, Ethel Romig [Contribution, p. 5]
• The Tower Clock — Fuller, Ethel Romig [Contribution, p. 283]
• A Silver World, This — Fuller, Ethel Romig [Contribution, p. 103]
• When You Brought the Flambeau — Fuller, Ethel Romig [Contribution, p. 283]
• On the Market — Fuller, Ethel Romig [Contribution, p. 19]
• Voices — Fuller, Ethel Romig [Contribution, p. 41]
• On Making a Fiddle — Fuller, Ethel Romig [Contribution, p. 143]
• The New Bridge — Fuller, Ethel Romig [Contribution, p. 228]
• This Mountain — Fuller, Ethel Romig [Contribution, p. 63]
• Cynthia — Fuller, Ethel Romig [Contribution, p. 64]
• God’s Country — Gaines, Frances [Contribution, p. 164]
• Galahad, Joseph Andrew [also signed Joshph Andrew Galahad] Long-lined rhymed quatrains built on repetition, a whole refrain returning at the close or an anaphora of “Since you are not too” sustained through four stanzas. The subjects are renounced love and travel forbidden him; “Promise” sets out a flat doctrine of rebirth in couplets Long White Roads — Gaines, Frances [Contribution, p. 8]
• No Roses — Gaines, Frances [Contribution, p. 8]
• Isolde — Gaines, Frances [Contribution, p. 3]
• To the Star of Song — Gaines, Frances [Contribution, p. 24]
• The Round — Gaines, Frances [Contribution, p. 20]
• Promise — Gaines, Frances [Contribution, p. 5]
• Half Thought — Gale, Zona [Contribution, p. 10]
• Hills — Beloved, It Is Daybreak on the [Contribution, p. 10]
• Half Thought [so the contents page sets it, twice] — Beloved, It Is Daybreak on the [Contribution, p. 10]
• The manner is the catalogue of free-verse images: ten gemstones each given four or five lines, opals as cloud on a hilltop, emeralds as “green paths where poets walk”; smoke colors read as a symphony. Elsewhere a ballad of tumbleweeds dancing and a monologue spoken by the north sky Astral Stones — Gallatin, Neal [Contribution, p. 14]
• Pipes o’ Sky — Gallatin, Neal [Contribution, p. 22]
• Tumble-Weed Ladies — Gallatin, Neal [Contribution, p. 17]
• The North Sky — Gallatin, Neal [Contribution, p. 21]
• Cacti and Leaves — Gammans, Harold W [Contribution, p. 18]
• Dawn — Gane, Homer G [Contribution, p. 206]
• “When the Morning Stars Sang Together” — Gane, Homer G [Contribution, p. 52]
• Christ-Mass in June — Gardner, Orpha M [Contribution, p. 225]
• To Moselle — Gardner, Orpha M [Contribution, p. 45]
• The Vaeldictorian — Gates, Allene [Contribution, p. 24]
• Concerning a Love of Clothes — Gates, Allene [Contribution, p. 13]
• Four contributions, one a prose appreciation of Alice Meynell. The three poems share nothing: the desert speaking as a woman to her lovers Sun and Dawn; the trees of a Los Angeles park as guests at an awkward tea; Drake’s ghost rising for England in a refrain ballad Alice Meynell, an Appreciation — Gaw, Ethelean Tyson [Contribution, p. 29]
• The Desert — Gaw, Ethelean Tyson [Contribution, p. 8]
• Summer Storm in Los Angeles — Gaw, Ethelean Tyson [Contribution, p. 306]
• The Voice of Francis Drake — Gaw, Ethelean Tyson [Contribution, p. 42]
• I Would Be Silent — Gaylord, Myrtle Levy [Contribution, p. 9]
• Six poems, all free verse and all short-lined, in the prairie manner: a wind that will not let a man sit still, heat like “a wavering, sticky web,” a prairie fire recounting its own history from Boone to Cody. “Quarry Workmen” dismisses sentimental singers and calls the stonecutters the poets Winds — Geddes, Virgil [Fiction, p. 14]
• Valley of Slew Grass — Geddes, Virgil [Contribution, p. 13]
• Summer Movement — Geddes, Virgil [Contribution, p. 24]
• Prairie Fires — Geddes, Virgil [Contribution, p. 18]
• Singers of Song — Geddes, Virgil [Contribution, p. 25]
• Quarry Workmen — Geddes, Virgil [Contribution, p. 24-25]
• Portrait — Gessler, Clifford [Contribution, p. 203]
• You Will Remember — Gessler, Clifford [Contribution, p. 172]
• The Hawk — Gibbs, Agnes K [Contribution, p. 8]
• Tho Oil Field — Giddings, Harrison [Contribution, p. 115]
• Touring with Anne — Gilbert, Anne Kelledy [Contribution, p. 230]
• Five poems. The best is a string of questions put to moles, woodchucks and cray-fish, rhymed on double endings. Beatitude catalogues physical pleasures in blank verse, down to “the pitchy taste of pine and juniper.” Two unrelated poems both carry the title Weather Report To the Burrowing Kind — Gilchrist, Marie Emilie [Contribution, p. 19]
• Dawn Wind — Gilchrist, Marie Emilie [Contribution, p. 19]
• Weather Report — Gilchrist, Marie Emilie [Contribution, p. 4]
• Weather Report — Gilchrist, Marie Emilie [Contribution, p. 16]
• Beatitude — Gilchrist, Marie Emilie [Contribution, p. 24]
• Works almost entirely in couplets, octosyllabic or heroic. The Watch-Maker Muses expands a watch’s springs and balance-wheel out to the Pleiades and closes on the design argument; After Rain finds heaven in gutter puddles couplet by couplet. Girls at Night in the Park is the one frankly sensual piece The Watch-Maker Muses — Ginsberg, Louis [Contribution, p. 41]
• After Rain — Ginsberg, Louis [Contribution, p. 135]
• Wells of Spring — Ginsberg, Louis [Contribution, p. 187]
• My Songs — Ginsberg, Louis [Contribution, p. 252]
• Girls at Night in the Park — Ginsberg, Louis [Contribution, p. 278]
• Wet Lilacs — Ginsberg, Louis [Contribution, p. 154]
• Indelible — Glaenzer, Richard Butler [Contribution, p. 22]
• Catalina Days — Glaenzer, Richard Butler [Contribution, p. 22]
• Autumn Rain — Goodman, Charles [Contribution, p. 10]
• Forget-Me-Nots — Goodman, Charles [Contribution, p. 11]
• The Dancer — Goodman, Charles [Contribution, p. 20]
• Moon-Men — Gordon, Don [Contribution, p. 16]
• The Over-Song — Gordon, Don [Contribution, p. 46]
• High-horse Moon — Gordon, Ronald [Contribution, p. 215]
• Adjustment — Gottschalk, Laura Riding [Contribution, p. 5]
• Candles — Graham, Gladys Wilmot [Contribution, p. 26]
• Come, Rain — Graham, Gladys Wilmot [Contribution, p. 12]
• Wild Poppies of California — Gray, Agnes Kendrick [Contribution, p. 223]
• The Sage Thrasher — Gray, Agnes Kendrick [Contribution, p. 224]
• The Temple David Brooded On — Gray, Agnes Kendrick [Contribution, p. 271]
• The Agitator — Gray, Eunice T [Contribution, p. 14]
• A College Dance — Gray, Eunice T [Contribution, p. 24]
• June Scherzo — Gray, Philip [Contribution, p. 23]
• Victory — Gray, Philip [Contribution, p. 21]
• Measure of Beauty — Gray, Philip [Contribution, p. 168]
• Safarai — Gray, Whitley [Contribution, p. 6]
• Green, Julia Boynton [also signed Julia Baynton Green] Locoed — Gray, Whitley [Contribution, p. 25]
• Songcraft — Gray, Whitley [Contribution, p. 8]
• Meridian — Gray, Whitley [Contribution, p. 276]
• The Artist Receives Notice of a Bequest — Greene, Patterson [Contribution, p. 8]
• Resurgam — Griffith, William [Contribution, p. 14]
• Ideal — Griffith, William [Contribution, p. 9]
• Grokowsky, David N. [also signed David Grokowsky] Lines — Griffith, William [Contribution, p. 7]
• Emptiness — Griffith, William [Contribution, p. 18]
• Bits of Sand — Gross, Frances Wetmore [Contribution, p. 18]
• Variations and Fugue on a Well-Known Theme — Grun, Justus [Contribution, p. 141]
• A Kiss In The Dark — Gusling, Kalfus Kurtz [Contribution, p. 18]
• You — Gusling, Kalfus Kurtz [Contribution, p. 18]
• Yellow Ocacia — Gutterson, Edith [Contribution, p. 24]
• The Pomegranate Tree — Haddox, Dorothy [Contribution, p. 18]
• Wistaria — Haddox, Dorothy [Contribution, p. 30]
• To a Kimono — Haddox, Dorothy [Contribution, p. 27]
• Japanese Cycle — Icarus, Thor and the Furies [Contribution, p. 15]
• Remembered — Icarus, Thor and the Furies [Contribution, p. 21]
• The Hands of Kilian the Harper — Icarus, Thor and the Furies [Contribution, p. 182]
• The Saga of the Silver Bird — Icarus, Thor and the Furies [Contribution, p. 32]
• Telegraph Operators — Haines, M. Rainsford [Contribution, p. 196]
• Prayer — Haley, Laura Margaret [Contribution, p. 45]
• Country-born — Haley, Molly Anderson [Contribution, p. 271]
• Plant Salvia for Me! — Haley, Molly Anderson [Contribution, p. 109]
• Memories — Hall, Grace E [Contribution, p. 16]
• The strongest hand in the run. Thirteen poems, several in sequence, that watch walkers from above the street and read an identity out of a tread. Sonnets and tight tetrameter quatrains; “syllabled sculpture” is her own name for what she wants Echoes of Her — Hall, Hazel [Contribution, p. 11]
• A Late Passer — Hall, Hazel [Contribution, p. 11]
• On The Street — Hall, Hazel [Contribution, p. 11]
• Passers-By — Hall, Hazel [Contribution, p. 3]
• The Hippity-Hopper — Hall, Hazel [Contribution, p. 8]
• Pursuit — Hall, Hazel [Contribution, p. 9]
• Stranger — Hall, Hazel [Contribution, p. 9]
• Profit — Hall, Hazel [Contribution, p. 9]
• The Way She Walks — Hall, Hazel [Contribution, p. 10]
• Short Songs for a Long Day — Hall, Hazel [Contribution, p. 6]
• Inland — Hall, Hazel [Contribution, p. 11]
• The Ravelling Tune — Hall, Hazel [Contribution, p. 6-7]
• Hand in Sunlight — Hall, Hazel [Contribution, p. 3]
• Phyllis — Hamilton, Marion Ethel [Contribution, p. 17]
• The Alien — Hamilton, Marion Ethel [Contribution, p. 25]
• Six appearances, including “From a Street Corner” twice, tetrameter couplets on people as snails, each carrying a shell of petty cares. The others are short free verse turning on one conceit: the moon a toy balloon caught in branches, the heart a sealed and haunted house An Old Italian Aria — Hammond, Eleanor [Contribution, p. 17]
• Sky Scape — Hammond, Eleanor [Contribution, p. 13]
• Phantoms — Hammond, Eleanor [Contribution, p. 19]
• From a Street Corner — Hammond, Eleanor [Contribution, p. 14]
• Communion — Hammond, Eleanor [Contribution, p. 24]
• From a Street Corner — Hammond, Eleanor [Contribution, p. 27]
• Bells — Harding, Katharine Washburn [Contribution, p. 137]
• The Anchorite — Harmon, Beatrice [Contribution, p. 260]
• Ecce Homo — Harmon, Beatrice [Contribution, p. 3]
• Two in a Seaside Garden — Harmon, Beatrice [Contribution, p. 126]
• The Campers — Harrier, Jessie Vaughn [Contribution, p. 25]
• I Wonder What a Cocker Spaniel Thinks About — Harrier, Jessie Vaughn [Contribution, p. 21]
• A Stranger in Judea — Harriman, Alice [Contribution, p. 108]
• Ecclesiastes 12:1-7 — Harris, Ramsay L [Contribution, p. 130]
• Ideals — Hartley, Lillian [Contribution, p. 11]
• Sea Moods — Hartman, Jo [Contribution, p. 204]
• Shelley in Our House — Hartman, Jo [Contribution, p. 202]
• A Fisher Phaon — Hartman, Jo [Contribution, p. 13]
• Three slight lyrics on dreaming and constancy, then “The Sea Gulls,” much the larger thing: the 1848 cricket plague and the birds that ended it, told in shifting stanza shapes around the returning couplet “And though we killed a thousand score,” framed by unrhymed lines of Indian legend Poetry Magic — Harwood, Ruth [Contribution, p. 25]
• Supremacy — Harwood, Ruth [Contribution, p. 26]
• Allegro — Harwood, Ruth [Contribution, p. 14]
• The Sea Gulls — Harwood, Ruth [Contribution, p. 212]
• Haste, Gwendolen [also signed Gwendolin Haste; Gwendolyn Haste] Sequences of short poems about homestead women, each part a separate case of isolation set down in plain speech and left without comment. “Biography” plays the paragraphs of a county history against the killings its subject remembers. The sonnets, on drouth, hail and buried herders, are equally unsentimental The Stoic — Harwood, Ruth [Essay, p. 22]
• Montana Wives — Harwood, Ruth [Contribution, p. 10]
• Biography — Harwood, Ruth [Contribution, p. 4]
• The Revenant — Harwood, Ruth [Contribution, p. 20]
• Epitaph — Harwood, Ruth [Contribution, p. 20]
• The Haunted Ring — Harwood, Ruth [Contribution, p. 19]
• The Woman of Windy Flat — Harwood, Ruth [Contribution, p. 8]
• Three Western Poems — Harwood, Ruth [Contribution, p. 76]
• Sketches — Heartt-Dreyfus, Estelle [Contribution, p. 11]
• Quaking Aspen — Heath, Monroe [Contribution, p. 274]
• Adagio — Heath, Monroe [Contribution, p. 34]
• Heath, Winifred M. [also signed W. M. Heath; Winifred Heath] Five poems, and the first two are opposed: blank verse on a consoling inner voice, then a violent unrhymed harangue that refuses pretty verse and demands “a song of Hell.” The other three are what it refuses — mild rhyme on sisterly bushes and brother birds, on country weather carried into the city, on another woman’s lyrics born of loneliness The Voice — Heath, Monroe [Contribution, p. 24]
• Life — Heath, Monroe [Contribution, p. 18]
• Kinship — Heath, Monroe [Contribution, p. 16]
• To a Certain Poet — Heath, Monroe [Contribution, p. 21]
• On Going to Town — Heath, Monroe [Contribution, p. 9]
• If You Had Died — Hedges, Ada Hastings [Contribution, p. 41]
• Solus — Hedges, Ada Hastings [Contribution, p. 79]
• Evening — Hedges, Ada Hastings [Contribution, p. 70]
• The Stars Will Remember — Heller, Samuel [Contribution, p. 7]
• In The Park — Henderson, Rose [Contribution, p. 10]
• Wyoming Sunset — Hendricks, Cecelia Hennel [Contribution, p. 26]
• Winter — Hendrickson, Anne [Contribution, p. 157]
• Silver Music — Hendrickson, Anne [Contribution, p. 203]
• Trees Walking — Henry, Edna G [Contribution, p. 22]
• The Dispensary Doctor — Henry, Edna G [Contribution, p. 21]
• Hesperoyucca — Henry, Edna G [Contribution, p. 7]
• Jungle-Trailing Along the Equator — Hensey, Alice Ferrin [Contribution, p. 74]
• Carmen F., Half-Half — Hensey, Alice Ferrin [Contribution, p. 140]
• The Dancer — Hepburn, E. MacAlister [Contribution, p. 7]
• Nocturne — Hepburn, E. MacAlister [Contribution, p. 22]
• To Her Whose Lover Lies Dead — Hepburn, E. MacAlister [Contribution, p. 7]
• The Cabin — Hess, Maud Hogue [Contribution, p. 20]
• Four short poems in ballad quatrains, colloquial and wry, each turning on a deflation: a walk not taken because the houses would gossip, a refusal to read poems about roses and the moon, and a night of menacing budding branches answered at dawn with “You’ll do nothing of the kind!” Postponement — Higgins, Annie [Contribution, p. 19]
• Song Against Art — Higgins, Annie [Contribution, p. 19]
• I Remember — Higgins, Annie [Contribution, p. 19]
• All Night — Higgins, Annie [Contribution, p. 19]
• Not Love — High, Lee S [Contribution, p. 21]
• The Fog — Hill, Esther Clark [Contribution, p. 14]
• The Gifts — Hill, Esther Clark [Contribution, p. 10]
• Moonlight—Vermillion Valley — Hill, Frank Ernest [Contribution, p. 12]
• The Pass — Hill, Frank Ernest [Contribution, p. 16]
• March Storm — Hill, Marvin Luter [Contribution, p. 7]
• To Madeleine — Hill, Marvin Luter [Contribution, p. 11]
• The Doubter — Hill, Marvin Luter [Contribution, p. 12]
• All four build by accumulation: stanzas of armchair travel through Bagdad and Samarkand, a catalogue of the riches he cannot give, sixteen tetrameter couplets hung on “If you would know.” The exception is a strict sestina, correctly retrograded, spoken in a carnival barker’s slang, and it works Romance — Hilliard, John Northern [Contribution, p. 12-13]
• Gifts — Hilliard, John Northern [Contribution, p. 3]
• Sestina of the Spieler — Hilliard, John Northern [Contribution, p. 48]
• In a Volume of Tschaikowsky — Hilliard, John Northern [Contribution, p. 85]
• Sea Winds — Hillman, Gordon Malherbe [Contribution, p. 8]
• Nightfall — Hillman, Gordon Malherbe [Contribution, p. 22]
• Lucile — Hillman, Gordon Malherbe [Contribution, p. 17]
• Lady Wanderlust — Hodgson, Cecil E. C [Contribution, p. 137]
• The Garden Pool — Hodgson, Cecil E. C [Contribution, p. 46]
• Begins with four sonnets after Propertius, Latin incipits for titles, Cynthia scolded in modern slang. The later work is dramatic monologue in plain American speech, a drifter’s wife packing again, a mother identifying her drowned son, and one exercise in free-verse Gothic Quid Iuvat Ornato — Holbrook, Weare [Drama, p. 3]
• Risus Eram Positis — Holbrook, Weare [Contribution, p. 13]
• Ergo Tam Doctae — Holbrook, Weare [Contribution, p. 13]
• Pacis Amor Deus — Holbrook, Weare [Contribution, p. 26]
• The Drifter’s Wife — Holbrook, Weare [Contribution, p. 20]
• The Belle of the Ball — Holbrook, Weare [Contribution, p. 22]
• Threnody — Holbrook, Weare [Contribution, p. 38]
• Cross Indicates Spot — Holbrook, Weare [Contribution, p. 171]
• Breakfast — Holbrook, Weare [Contribution, p. 219]
• Vanity — Holladay, Hellen H [Contribution, p. 23]
• A Song to Spirit Thala — Holloway, Roberta [Contribution, p. 164]
• A Song of Shadows — Holloway, Roberta [Contribution, p. 209]
• The Song Unsung — Holme, Jamie Sexton [Contribution, p. 129]
• The Onlooker — Holway, Edith Boyden [Contribution, p. 27]
• Milton’s Daughters — Hoopes, Helen Rhoda [Contribution, p. 10]
• Masquerade — Hope, Ethel [Contribution, p. 8]
• Virgin Birth — Hopkins, Ruth E [Contribution, p. 117]
• The Early Morning Crowd — Hoskins, Ruth Corley [Contribution, p. 15]
• Silver Sewing — Houck, Amy [Contribution, p. 22]
• Tankas From the Japanese — House, Roy Temple [Contribution, p. 23]
• Howard, Katherine [also signed Katharine Howard] Coast Range — House, Roy Temple [Contribution, p. 23]
• By San Diego — House, Roy Temple [Contribution, p. 23]
• Challenge — Howat, Helen [Contribution, p. 16]
• Blue-Bird Time — Howe, Nancy Lee [Contribution, p. 11]
• The Return — Howell, Editha [Contribution, p. 20]
• Dim Prayer — Howell, Richard Clifton [Contribution, p. 75]
• Three poems in four appearances: The Mountains was printed twice, in July-August 1923 and again in February 1924, lightly repunctuated. Free verse working a single extended figure hard, the range as an army with bayoneted crags and cloud-barrage, the grade as a stairway from Olympus The Stairway — Howes, Grace Clementine [Contribution, p. 21]
• The Mountains — Howes, Grace Clementine [Contribution, p. 8]
• The Mountains — Howes, Grace Clementine [Contribution, p. 12]
• An Old Man of the Trails — Howes, Grace Clementine [Contribution, p. 18]
• The Singing Trail — Hudson, Addie Cropsey [Contribution, p. 10-11]
• To Llasta — Huffman, Adrian [Contribution, p. 165]
• Six early poems, 1921 to 1924. Rhymed couplets and tetrameter run to landscape and solitude, but the manner is conversational and self-deflating: an evening on Tahoe breaks off at “I’ll land, and get my sweater on.” February is free-verse imagism seen from a train window On the Overland — Humphries, Rolfe [Contribution, p. 12]
• February — Humphries, Rolfe [Contribution, p. 19]
• Evening on Tahoe — Humphries, Rolfe [Contribution, p. 17]
• A Sad Little Lyric for Vacation — Humphries, Rolfe [Contribution, p. 17]
• Solitary — Humphries, Rolfe [Contribution, p. 22]
• Whence Cometh My Help — Humphries, Rolfe [Contribution, p. 14]
• Hutchins, M. Doris [also signed Doris Hutchins] Four short poems in tight rhyme, three of them elegies for a person or an hour, one a desert piece on the yucca whose flowers fall like “tired eyelids or cold lips.” The stanzas are regular and the endings are turned hard, sometimes into bathos The Yucca — Humphries, Rolfe [Contribution, p. 31]
• Your Room — Humphries, Rolfe [Contribution, p. 18]
• Finis — Humphries, Rolfe [Contribution, p. 30]
• To the Soul of a Dancer — Humphries, Rolfe [Contribution, p. 24]
• A Marriage Ceremony — Hutchinson, Velma Byers [Contribution, p. 200]
• Poplars — Hutchinson, Velma Byers [Contribution, p. 235]
• Hyatt, Jack, Jr Free verse punctuated with ellipses, working by counterpoint: a blind beggar reads the passers-by he cannot see, a laundryman’s dream of returning home is cut across by quoted shop talk. Two very short pieces are flat aphorisms on churchgoing and on marriage. The sentiment is easy The Beggar — Hutchinson, Velma Byers [Contribution, p. 15]
• Ching Loo Dreams — Hutchinson, Velma Byers [Contribution, p. 15]
• Blindness — Hutchinson, Velma Byers [Contribution, p. 20]
• Similia — Hutchinson, Velma Byers [Contribution, p. 20]
• Steps on the Stair — Hutchinson, Velma Byers [Contribution, p. 13]
• Prayer — Hutchinson, Velma Byers [Contribution, p. 22]
• Dragon Flies — Hyer, Helen von Kolnitz [Contribution, p. 14]
• African Sunset — Hyer, Helen von Kolnitz [Contribution, p. 15]
• High Priestess — Hyer, Helen von Kolnitz [Contribution, p. 166]
• The Ocean — Inman, Arthur C [Contribution, p. 6]
• To Columbine — Inman, Arthur C [Contribution, p. 6]
• The City of Fountains — Ivey, B. S [Contribution, p. 230]
• Motley—Poem — James, E. O [Contribution, p. 11-13]
• Hearing Debussy’s “L ’Aprés Midi d’un Faun” — Jenkins, John [Contribution, p. 78]
• Death at Dawn — Jenkins, John [Contribution, p. 136]
• Home-Coming — Jenkins, Oliver [Contribution, p. 17]
• Awakening — Jenkins, Oliver [Contribution, p. 17]
• Indian Giver — Johnson, Josephine [Contribution, p. 120]
• The Carpenter — Johnson, Siddie Joe [Contribution, p. 4]
• As I Like It — Johnson, Siddie Joe [Contribution, p. 279]
• Christmas Shopping — Johnson, Siddie Joe [Contribution, p. 61]
• The Wanderer — Johnston, Winifred [Contribution, p. 14-15]
• Spring Inspection — Jones, Vincent [Contribution, p. 176]
• To Thomas Gray — Jones, W. K [Contribution, p. 27]
• Poems for a Chinese Anthology — Jonson, Arthur [Contribution, p. 282]
• Purification — Kellogg, Lucie [Contribution, p. 189]
• My Crown — Kells, Marion C [Contribution, p. 6]
• The Wife — Kelly, Edwin M [Contribution, p. 231]
• Fog — Kelly, Sarah Hammond [Contribution, p. 8]
• There Is No Peace in Love — Kelly, Sarah Hammond [Contribution, p. 119]
• Burnt Offering — Kendig, Katherine D [Contribution, p. 259]
• The Answering Heights — Kenyon, Bernice Lesbia [Contribution, p. 21]
• White-Throat — Kenyon, Bernice Lesbia [Contribution, p. 25]
• There Is No Quiet — Kenyon, Bernice Lesbia [Contribution, p. 4]
• Fleeting — Keogh, Edna Alice [Contribution, p. 278]
• Blue Morning — Kidd, Walter Evans [Contribution, p. 27]
• White Beauty — Kidd, Walter Evans [Contribution, p. 12]
• A Sea Diver Speaks to his Inland Love — Kidd, Walter Evans [Contribution, p. 74]
• A Miracle — Kimball, Jessie Yarnell [Contribution, p. 16]
• Three Lyrics — Kinsman, Sallie [Contribution, p. 115]
• Winter Night — Kinsman, Sallie [Contribution, p. 277]
• Kipling Japanese Iris — Kinsman, Sallie [Contribution, p. 19]
• Penitence — Kitt, Jessie Weber [Contribution, p. 145]
• Portrait — Kittle, Goldsmith [Contribution, p. 199]
• Painted Desert — Kittle, Goldsmith [Contribution, p. 200]
• The Mother Heart — Knapp, Ethel Marjorie [Contribution, p. 19]
• I Die a Hundred Deaths — Knapp, Ethel Marjorie [Contribution, p. 20]
• The Walls of St. Francis — Knipe, Bertha McE [Contribution, p. 12]
• The Almond Blossoms — Knipe, Bertha McE [Contribution, p. 12]
• Kraft, M The Mole — Knipe, Bertha McE [Contribution, p. 7]
• Asphodel — Kresensky, Raymond [Contribution, p. 139]
• Alabaster — Kresensky, Raymond [Contribution, p. 264]
• Humming Bird — Kuno, Hazel [Contribution, p. 235]
• Armageddon — Lanham, C. T [Contribution, p. 133]
• Chamber Music — Larson, R. Ellsworth [Contribution, p. 22]
• Autumn, New Mexico — Lechlitner, Ruth [Contribution, p. 72]
• Omega — LeClercq, Jacques [Contribution, p. 136]
• Heritage — Lee, Borghild Lundberg [Contribution, p. 250]
• The Stroller — Lehmer, D. N [Contribution, p. 26]
• The Poet’s Voice — Lehmer, Eunice Mitchell [Contribution, p. 28]
• In Nebuchadnezzar’s Babylon — Leigh, A. B [Contribution, p. 78]
• Leitch, Mary Sinton [also signed Mary Sintou Leitch] Twelve poems in a wide range of forms: free-verse meditations on woodland silence, an Italian sonnet, blank-verse narrative, a fireside dialogue between a childless woman and the child she refused, and a comic beach-comber ballad. Sterility and Virginia tidewater places recur Silence — Leigh, A. B [Contribution, p. 19]
• Moods — Leigh, A. B [Contribution, p. 5]
• The Child of the Childless — Leigh, A. B [Contribution, p. 4]
• The Secret — Leigh, A. B [Contribution, p. 15]
• Now I Shall March — Leigh, A. B [Contribution, p. 3]
• To Barbara — Leigh, A. B [Contribution, p. 24]
• In a Railway Station — Leigh, A. B [Contribution, p. 16-17]
• Johnny Onions — Leigh, A. B [Contribution, p. 11]
• Nightfall on the Lynnhaven — Leigh, A. B [Contribution, p. 104]
• In Bruton Churchyard — Leigh, A. B [Contribution, p. 151]
• The Sea Invades the Hills — Leigh, A. B [Contribution, p. 225]
• The Hidden Side of the Moon — Leigh, A. B [Contribution, p. 291]
• Storm — Lemont, Jessie [Contribution, p. 70]
• Seven short pieces, most of them a single simile under an abstract title (Purity, Gladness, Result), and slight. Loneliness is the exception, its crowd holding out naked hearts in “fat, sweaty hands.” The one metered poem, Desire, was printed twice, in February and June 1922 Purity — Lench, W. H [Contribution, p. 14]
• Gladness — Lench, W. H [Contribution, p. 14]
• Loneliness — Lench, W. H [Contribution, p. 14]
• Desire — Lench, W. H [Contribution, p. 18]
• Desire — Lench, W. H [Contribution, p. 23]
• We Are Like Gold Fish — Lench, W. H [Contribution, p. 16]
• Result — Lench, W. H [Contribution, p. 16]
• Mine — California, Sweet Homeland of [Contribution, p. 25]
• The Wild Crab-Apple Tree — Lewis, Janet [Contribution, p. 14]
• My Mistress Whimsey — Lewis, Lilian [Contribution, p. 80]
• Morning and Evening — Lewis, Lilian [Contribution, p. 260]
• Time — Lewis, Lilian [Contribution, p. 273]
• Optimism — Lewis, Sylvia [Contribution, p. 283]
• Range verse in long, internally rhymed lines, cowboy loneliness personified as a girl riding at his knee. “Mail Day” is the one that earns its keep: a bow-legged boy loping to town in June weather, then, in part two, the “dull-eyed girl with rough, red hands” waiting in the coulee The Girl of the Loneliness — Lincoln, Elliott C [Contribution, p. 8]
• Mail Day — Lincoln, Elliott C [Contribution, p. 7]
• Loss — Lincoln, Elliott C [Contribution, p. 11]
• Evening — Lincoln, Elliott C [Contribution, p. 24]
• The Parable of Deepness — Lindsay, Vachel [Contribution, p. 35]
• My Iris Army — Lloyd, Anne [Contribution, p. 11]
• Nasturtiums — Long, Vivian Aten [Contribution, p. 10]
• Longley, Snow [also signed Snow Longly] A dramatic monologist. Her strongest work is blank verse spoken in character: a king’s favorite dying of the white lead she painted on, Beauty writing at the Beast’s table. “A Believer” runs the same method in rhymed swamp dialect. The two late sonnets are ordinary Protest—Mid-Atlantic — Long, Vivian Aten [Drama, p. 22]
• April Illusions — Long, Vivian Aten [Contribution, p. 10]
• The Dying Favorite Speaks — Long, Vivian Aten [Contribution, p. 8]
• Pages from Beauty’s Diary — Long, Vivian Aten [Contribution, p. 262]
• A Song for Rosetime — Long, Vivian Aten [Contribution, p. 222]
• A Believer — Long, Vivian Aten [Contribution, p. 258]
• Imitation — Long, Vivian Aten [Contribution, p. 65]
• Libraries — Long, Vivian Aten [Contribution, p. 65]
• A Note for Poets — Loving, Pierre [Contribution, p. 26]
• Mountain Hunger — Loving, Pierre [Contribution, p. 24]
• Fantasia — Luciani, Virgilio [Contribution, p. 285]
• Morning — Luciani, Virgilio [Contribution, p. 277]
• Thoughts in a Windy Street — Luhrs, Marie [Contribution, p. 11]
• Lummis, Charles F. [also signed Chas. F. Lummis] Ernestine Schumann-Heink — Luhrs, Marie [Contribution, p. 5-6]
• Song — Luhrs, Marie [Contribution, p. 5]
• The Northwestern Wheat Field — Lund, Mary Graham [Contribution, p. 8]
• At My Window — Lund, Mary Graham [Contribution, p. 20]
• At My Window [printed again] — Lund, Mary Graham [Contribution, p. 18]
• Lyman, Dean B., Jr Thus Theseus — Lund, Mary Graham [Contribution, p. 106]
• A Study in Black and White — Lynch, Ada Kyle [Contribution, p. 6]
• The Dancer — Lyndall, Dorothy S [Contribution, p. 19]
• The Moon — Lyndall, Dorothy S [Contribution, p. 19]
• Eucalypth Amygdalina — Lyndall, Dorothy S [Contribution, p. 23]
• Glacier Point — Lynn, Roberta [Contribution, p. 28]
• Farewell at Twilight to San Francisco Bay — Lyttyl, Cavan [Contribution, p. 14]
• M M. P. C Through the Cajon Pass — Lyttyl, Cavan [Contribution, p. 23]
• The Tall Gods Pass — Mabie, Mary Louise [Contribution, p. 176]
• At the Hospital — MacDonald, Susanne Rike [Contribution, p. 17]
• Four poems in long swinging lines with internal rhyme and refrain, one of them chained on hyphenated jingles like “whither-I-blow, thither-I-go.” Subjects: the gipsy trail, a woman remembered on the Bay of Naples, a changeling schoolgirl, and a couplet comedy weighing two girls met at tea Romany Road — Mackay, Mirza French [Contribution, p. 9]
• Silver — Mackay, Mirza French [Contribution, p. 73]
• L’Alouette — Mackay, Mirza French [Contribution, p. 228]
• Tea — Mackay, Mirza French [Contribution, p. 221]
• The Little Owls — MacLean, Katharine Allison [Contribution, p. 284]
• Lilith Laments — MacLean, Katharine Allison [Contribution, p. 16]
• Re-Union — MacMillan, M. T [Contribution, p. 19]
• Purgation — Magaret, Helen [Contribution, p. 66]
• The “Snowy Peaks” Unveiled — Manning, Oliver [Contribution, p. 18]
• Insomnia — Maring, Helen Emma [Contribution, p. 239]
• Magdalene — Marinoni, Rosa Zagnoni [Contribution, p. 128]
• Sand Lily — Maris, Faith [Contribution, p. 9]
• At Figueroa — Markham, Anna Catherine [Contribution, p. 255]
• The Summer Rain — Markham, Anna Catherine [Contribution, p. 260]
• Six poems, fluently metrical and ornate in the late-Victorian way: sonnets on an Italian octave, tetrameter couplets, stanzas chiming on a short line, and a vocabulary of fanes, oblations and Camelot November Night is the one with a personality, ending with the speaker racing her broomstick back to Salem November Night — Markham, Lucia Clark [Contribution, p. 22]
• Rain in the Night — Markham, Lucia Clark [Contribution, p. 14]
• A Birch Tree Singing — Markham, Lucia Clark [Contribution, p. 14]
• Sonnets to a Little Girl — Markham, Lucia Clark [Contribution, p. 25]
• Back to the Hills — Markham, Lucia Clark [Contribution, p. 8]
• Pigeons Flying — Markham, Lucia Clark [Contribution, p. 52]
• Nine poems that name their plants exactly, bougainvillea, jacaranda, poinsettia, shooting-stars, and set Southern California against a remembered elsewhere. Tetrameter quatrains and heptameter triplets for the songs, blank verse for the descriptive set pieces on redwoods and canyon dusk. Crickets defends metre against “nondescript verse.” To The South—March Song — Marquis, Neeta [Contribution, p. 17-18]
• The Alien — Marquis, Neeta [Contribution, p. 8]
• On Christmas Eve — Marquis, Neeta [Contribution, p. 3]
• A Redwood Forest in Winter — Marquis, Neeta [Contribution, p. 6]
• An Old Garden By the Sea — Marquis, Neeta [Contribution, p. 11]
• Twlight Song — Marquis, Neeta [Contribution, p. 17]
• April Dusk — Marquis, Neeta [Contribution, p. 16]
• Out of the West — Marquis, Neeta [Contribution, p. 262]
• Crickets — Marquis, Neeta [Contribution, p. 259]
• Four poems: two Petrarchan sonnets and two long-lined free-verse addresses to a departed woman, thick with trailing ellipses and ornament such as “amethystine vistas.” The Venetian one runs several pages on a remembered room. The better sonnet speaks in the voice of a redeemed prostitute, after Wassermann Perhaps — Marsh, Charles Howard [Contribution, p. 18]
• To J — Marsh, Charles Howard [Contribution, p. 189]
• A Venetian Night — Marsh, Charles Howard [Contribution, p. 64]
• Of a Prostitute Redeemed — Marsh, Charles Howard [Contribution, p. 129]
• All free verse, stepped and indented, unrhymed. Half the poems are Indian personations with hyphenated compound names, set out as titled songs for Soaring-Gull and Woman-of-the-Rifted-Rock; the rest are longer ecstatic pieces built on a repeated question, “What are they thinking, these three.” In the Moon-of-Red-Blooming-Lilies — Martin, Portia [Contribution, p. 13]
• Aspens — Martin, Portia [Contribution, p. 13]
• Love Wakens in the Heart of Soaring-Gull — Martin, Portia [Contribution, p. 10]
• The Swing — Martin, Portia [Contribution, p. 14]
• Plover—Wing Sings in the Fog — Martin, Portia [Contribution, p. 23]
• When Sunset Called — Martin, Portia [Contribution, p. 55]
• Four and a Picnic — Martin, Portia [Contribution, p. 246]
• Failure — Martin, R. Helyn [Contribution, p. 9]
• Presence — Mathis, Earl [Contribution, p. 74]
• A Typewriter — Maxwell, George [Contribution, p. 11]
• Misgiving — Maxwell, George [Contribution, p. 111]
• Works two manners. Tetrameter quatrains on Southern California places, the Redondo wharf and a canyon trail, and strict Petrarchan sonnets on a Renaissance stonecutter and the four hours of the day; against these, long-lined free-verse catalogues of Los Angeles at night and of Javanese and jungle exotica Redondo Beach — May, Beulah [Contribution, p. 21]
• Saint Ann’s Wind — May, Beulah [Contribution, p. 13]
• Wind From the Sea — May, Beulah [Contribution, p. 13]
• The Canyon Trail — May, Beulah [Contribution, p. 3]
• In the Wind — May, Beulah [Contribution, p. 4]
• The Mill — May, Beulah [Contribution, p. 51]
• The Color of the Night — May, Beulah [Contribution, p. 140]
• The Witch Maiden — May, Beulah [Contribution, p. 83]
• Animal — May, Beulah [Contribution, p. 204]
• The Workman — May, Beulah [Contribution, p. 251]
• The Procession of Four Kings — May, Beulah [Contribution, p. 6]
• A Dance by Ruth St. Denis — May, Beulah [Contribution, p. 5]
• McCarthy, John Russell [also signed John R McCarthy] Two manners: unrhymed declamation in a pulpit register on stars, evolution and a Lord God who speaks and is jeered at; and tight short-lined rhyme, as in the progress-chant “Spark Out of Heaven.” Best is “The New Clerk,” a hundred lines of rhymed couplets on a boy’s dreams closing down The Gift of Beauty — May, Beulah [Contribution, p. 3]
• Rue Anemone — May, Beulah [Contribution, p. 24]
• Priests — May, Beulah [Contribution, p. 25]
• The New Clerk — May, Beulah [Contribution, p. 12]
• Under the Stars — May, Beulah [Contribution, p. 12]
• Friends — May, Beulah [Contribution, p. 12]
• From Nowhere — May, Beulah [Contribution, p. 12]
• A Grey Day — May, Beulah [Contribution, p. 23]
• This Life the Last? — May, Beulah [Contribution, p. 21]
• Spark Out of Heaven Vol. III No. 10 · Feb. 1924 4-5-6 Midway — May, Beulah [Contribution, p. 9]
• Without Garment of Flesh — May, Beulah [Contribution, p. 158]
• Conversation — May, Beulah [Contribution, p. 8]
• Envy Not Granite — May, Beulah [Contribution, p. 62]
• McCarty, Dixie [also signed Dixie McCarthy] Hills — May, Beulah [Contribution, p. 10]
• At a Flower Stand — May, Beulah [Contribution, p. 21]
• The Ride — May, Beulah [Contribution, p. 15]
• McCormick, Virginia [also signed Virginia Taylor McCormick] Mostly short rhymed lyrics on named abstractions, sorrow, pain, doubt, magic, each closing on a turn; also a Petrarchan sonnet on an April garden and a Normandy genre picture in long lines. Two early free-verse pieces speak plainly in the first person, refusing the restful mountains for the sea Sorrow — May, Beulah [Contribution, p. 13]
• Poems — May, Beulah [Contribution, p. 13]
• Mountains — May, Beulah [Contribution, p. 17]
• Thought — May, Beulah [Contribution, p. 16]
• I Remember — May, Beulah [Contribution, p. 5]
• Awakening Garden — May, Beulah [Contribution, p. 6]
• Pain — May, Beulah [Contribution, p. 15]
• La Petite Fiancee — May, Beulah [Contribution, p. 6]
• Magic — May, Beulah [Contribution, p. 101]
• Doubting — May, Beulah [Contribution, p. 189]
• A Woman’s Song — McDougall, Mary Cormack [Contribution, p. 10]
• Molly By The Shore—Ballade of Mary Queen of Scots — McGaffey, Ernest [Contribution, p. 10-12]
• Ballade of the Maya Maiden — McGaffey, Ernest [Contribution, p. 20]
• Two free-verse pieces of remembrance broken by ellipses, a house she will not enter and an old man watching a fire; and two stanzaic poems that clip each quatrain’s fourth line to a beat or two, “Wind-blown.” Empty houses and what has gone out of them are her whole subject The Barrier — McGowen, Elizabeth K [Contribution, p. 10]
• The Deserted House — McGowen, Elizabeth K [Contribution, p. 10]
• Wood Fires — McGowen, Elizabeth K [Contribution, p. 15]
• Storm — McGowen, Elizabeth K [Contribution, p. 8-9]
• Five poems, none longer than eleven lines. Four are free verse of an imagist cast, a portrait in muted color, grass crushed in a sidewalk crack; the fifth is a rhymed epigram on a learned woman whose epitaph is ‘What was the use?’ The endings are dry and turned Mind — McKee, Ruth E [Contribution, p. 20]
• A Study in Pastels — McKee, Ruth E [Contribution, p. 20]
• Spring Sadness — McKee, Ruth E [Contribution, p. 29]
• If — McKee, Ruth E [Contribution, p. 138]
• Wise Woman — McKee, Ruth E [Contribution, p. 219]
• Sequoia — McLeod, LeRoy [Contribution, p. 96]
• The Wall — McLeod, LeRoy [Contribution, p. 200]
• Two Songs — McVickar, Dorothy [Contribution, p. 293]
• Two Poems — Mead, Ruth Bernice [Contribution, p. 105]
• Meisinger, Mary M. [also signed Mary Meisinger] Fantasy — Mead, Ruth Bernice [Contribution, p. 6]
• Impotence — Mead, Ruth Bernice [Contribution, p. 15]
• Six poems, all from 1927 and all in loose blank verse of ten to twenty lines: a plowman, plow horses, a leaf-choked brook, each set against the scale of the stars. Exclamatory. To a Weaver of Words states his creed, poetry taken up with an axe One Moment Facing Stars — Melvin, Harold Wesley [Contribution, p. 151]
• Plow Horses March into the Sunset — Melvin, Harold Wesley [Contribution, p. 196]
• Bronze Brook — Melvin, Harold Wesley [Contribution, p. 196]
• Not Out of Sunrise — Melvin, Harold Wesley [Contribution, p. 217]
• To a Weaver of Words — Melvin, Harold Wesley [Contribution, p. 17]
• Infinity — Melvin, Harold Wesley [Contribution, p. 70]
• How They Grew — Menefee, Kate Randle [Contribution, p. 9]
• Mostly slight rhymed lyrics turning on one small reversal, a face at every window, the word left unsaid. The exception is “Cause and Effect,” a long monologue in irregular rhyme spoken by a lame, half-blind widow to a caller, whose chatter gives away more than she intends Impermanence — Meredith, Floyd [Contribution, p. 12]
• Protest — Meredith, Floyd [Contribution, p. 25]
• Stone Flowers — Meredith, Floyd [Contribution, p. 18]
• Sacrifice — Meredith, Floyd [Contribution, p. 18]
• Heritage — Meredith, Floyd [Contribution, p. 18]
• Windows — Meredith, Floyd [Contribution, p. 11]
• Cause and Effect — Meredith, Floyd [Contribution, p. 18-19]
• Inheritance — Merriehew, Martha Webster [Contribution, p. 8]
• After Harvest — Merryfield, Gladys Bovard [Contribution, p. 51]
• Merryman, Mildred Plew [also signed Mildred Plew Merriman] Thoughts of a Bookkeeper — Merryfield, Gladys Bovard [Contribution, p. 4]
• On Windy Nights — Merryfield, Gladys Bovard [Contribution, p. 20]
• Night Ride — Merryfield, Gladys Bovard [Contribution, p. 13]
• To a Portrait — Miall, Agnes M [Contribution, p. 20]
• Petition — Miall, Agnes M [Contribution, p. 53]
• Peace — Miles, Josephine [Contribution, p. 111]
• Miller, J. Corson [also signed J. Carson Miller] Seven poems, one of them signed J. Carson Miller. The manner is heavy traffic in hyphenated compounds, moon-trapped and song-stirred and blood-punctured, worked into sonnets and couplets. Subjects run from city street lights to a jackrabbit as ‘nature’s speed-machine’ and a couplet tribute to George Sterling Street Lights — Miles, Josephine [Contribution, p. 23]
• Sonnet — Miles, Josephine [Contribution, p. 26]
• On a Wild Jack-Rabbit — Miles, Josephine [Contribution, p. 83]
• On a Certain Contemporaneous Poet — Miles, Josephine [Contribution, p. 37]
• “Who Consorts with Wisdom ” — Miles, Josephine [Contribution, p. 253]
• The Singing Forest — Miles, Josephine [Contribution, p. 276]
• Wild Honey — Miles, Josephine [Contribution, p. 6]
• Poems of thirty to fifty lines that state a conceit in the first line and work it through parallel stanzas: a house, a tune, a painting and a prayer all made of words; a catalogue of silences. One idyll breaks on the sight of “a child thinning beets.” A Pagan In Church — Miller, Nellie Burget [Contribution, p. 17]
• Joy Walks in the Morning — Miller, Nellie Burget [Contribution, p. 8]
• Words — Miller, Nellie Burget [Contribution, p. 9]
• Prophecy — Miller, Nellie Burget [Contribution, p. 12]
• I Bring You Silence, My Beloved — Miller, Nellie Burget [Contribution, p. 99]
• Moods — Miller, Nellie Burget [Contribution, p. 216]
• Miller, Norma [also signed Norma Miler] Restless in manner: a five-line simile of sea and nun, a chinoiserie of lacquered barges and jade drops, a thee-and-thou lyric in two seven-line stanzas, a long dimeter Nocturne. The late Sabbath drops the apparatus for plain refusal and is the better for it The Sea Is Like a Nun — Miller, Nellie Burget [Contribution, p. 8]
• Street Lights — Miller, Nellie Burget [Contribution, p. 7]
• June Midnight — Miller, Nellie Burget [Contribution, p. 6]
• Spring Tarries Long — Miller, Nellie Burget [Contribution, p. 3]
• Lyric — Miller, Nellie Burget [Contribution, p. 100]
• River Songs — Miller, Nellie Burget [Contribution, p. 135]
• Two Lyrics — Miller, Nellie Burget [Contribution, p. 207]
• Nocturne — Miller, Nellie Burget [Contribution, p. 292]
• Diana Knows — Miller, Nellie Burget [Contribution, p. 80]
• Sabbath — Miller, Nellie Burget [Contribution, p. 224]
• Long loping seven-stress lines and rhymed quatrains on dream-houses, unfollowed roads, and shells, “little deserted dwellings of the creatures of the sea.” The matter is wishing rather than seeing. Inland, which builds an ocean out of a grandfather’s few gruff words, is the exception House O’ Dreams — Mills, Ellen Morrill [Contribution, p. 13]
• The Little Road — Mills, Ellen Morrill [Contribution, p. 9]
• Spring, The Herald — Mills, Ellen Morrill [Contribution, p. 22]
• Sea Shells — Mills, Ellen Morrill [Contribution, p. 18]
• Inland — Mills, Ellen Morrill [Contribution, p. 21]
• Flanders Field—Today — Miniter, Edith [Contribution, p. 19]
• All four take their figures from myth: Arachne at the loom in two-stress lines, Galatea begging the goddess to turn her back to stone, Syrinx becoming reed. The two longer poems are speeches in rhymed tetrameter couplets, and the woman does the speaking Arachne — Mirick, Edith [Contribution, p. 5]
• Flame — Mirick, Edith [Contribution, p. 72]
• As Once to Pan — Mirick, Edith [Contribution, p. 99]
• Caravans — Mirick, Edith [Contribution, p. 123]
• A Tragedy — Mitchell, Elizabeth [Contribution, p. 12]
• Gaydiang — Mitchell, Ruth Comfort [Contribution, p. 7-10]
• Prints in groups rather than singly, fifteen short pieces, mostly short-lined rhymed quatrains plus a set of three-line epigrams The diction is bare; sand recurs, twice as a title. In The Train Whistle field hands hear the call and go back to work “strangers then behind a wall.” Five Poems — Mitvalsky, Frank [Contribution, p. 112]
• Three Poems — Mitvalsky, Frank [Contribution, p. 144]
• Two Poems — Mitvalsky, Frank [Contribution, p. 165]
• Epigrams — Mitvalsky, Frank [Contribution, p. 240]
• The Gleaner — Moll, Ernest G [Contribution, p. 294]
• Woodrow Wilson Anthology — Moon, Lois Burton [Contribution, p. 118]
• Gillaume Apollinaire — Moore, Dorothea [Contribution, p. 25]
• Introducing Irony — Moore, Dorothea [Contribution, p. 25]
• Moreland, John Richard [also signed John R Moreland; J. R. Moreland] Four poems, each turning at the close to death: a Petrarchan sonnet whose sestet spoils its own April, a three-quatrain figure of life as a cage whose one door is death, and the elegy The Unreturning, which cuts each eight-line stanza short on a bare question Rich Man, Poor Man — Moore, Dorothea [Contribution, p. 15]
• Sand Dunes — Moore, Dorothea [Contribution, p. 16]
• Sea Sadness — Moore, Dorothea [Contribution, p. 17]
• Autumn — Moore, Dorothea [Contribution, p. 23]
• “I Do Not Think The Dead Drift Far” — Moore, Dorothea [Contribution, p. 15]
• Dandelions — Moore, Dorothea [Contribution, p. 15]
• A Singing Wind Has Waked the Silent Hills — Moore, Dorothea [Contribution, p. 6]
• The Cage — Moore, Dorothea [Contribution, p. 246]
• The Unreturning — Moore, Dorothea [Contribution, p. 190]
• Our Campfire — Morrill, Belle C [Contribution, p. 288]
• Evening Gray — Morrill, Jane [Contribution, p. 280]
• The Sculptor — Morrill, Jane [Contribution, p. 24]
• A Lady’s Way — Morrill, Jane [Contribution, p. 25]
• Lacquered Mandarin Moments — Morse, Vera Frances [Contribution, p. 28-29]
• One Guest — Morton, David [Contribution, p. 7]
• Mullins, Helene [also signed Helene Mullin] Four appearances, two of them the same free-verse “Prelude” reset with different lineation. The others are formal set-pieces in pentameter, an ode to Thalia in rhymed quatrains and a chant royal of five eleven-line stanzas and envoi, refrain and rhyme scheme correctly kept Prelude — Morton, David [Contribution, p. 7]
• Prelude — Morton, David [Contribution, p. 19]
• Old Attic — Morton, David [Contribution, p. 17]
• Ode to Thalia — Morton, David [Contribution, p. 20]
• A Singer is Silent — Morton, David [Contribution, p. 152]
• To a Photograph in a Show-Case Near Hull House — Nethercot, Arthur H [Artwork, p. 23]
• Mountains Are Best for Heartbreak — Newman, A. Evelyn [Contribution, p. 23]
• The Junk — Newman, Wheeler F [Contribution, p. 19]
• Portrait of an Old Lady — Newton, Charlotte [Contribution, p. 73]
• The Freight Train — Nibley, Hugh [Contribution, p. 171]
• nic Pilip, Maire For a Poet — Nibley, Hugh [Contribution, p. 31]
• Spring Budding — Nichols, Beth Cheney [Contribution, p. 7]
• The Torch — Nichols, Beth Cheney [Contribution, p. 13]
• Compensation — Nickerson, Paul S [Contribution, p. 23]
• The Betrothal — Nickerson, Paul S [Contribution, p. 25]
• Dumb — Nickerson, Paul S [Contribution, p. 14]
• Norcross, Ellinor Lehnherr [also signed Ellinor L Norcross] Barrier — Nickerson, Paul S [Contribution, p. 16]
• Theft — Nickerson, Paul S [Contribution, p. 47]
• Prudence — Nickerson, Paul S [Contribution, p. 213]
• The Pomegranate Flowers are Scarlet — Norman, Hilda Laura [Contribution, p. 14]
• Bulbs — North, Jessica Nelson [Contribution, p. 9]
• Wheels and Wings — North, Jessica Nelson [Contribution, p. 15]
• Sand — North, Jessica Nelson [Contribution, p. 9-10]
• The Little Things — Norton, Meredith [Contribution, p. 17]
• And Autumn Passes — Nyman, Georgia Currier [Contribution, p. 20]
• Old Pain — O’Neil, Sheila [Contribution, p. 170]
• The Clavilux — Ohe, Madge [Contribution, p. 159]
• Olson, Ted [also signed Tod Olson] Chiefly sonnets, octave and sestet kept taut by enjambment, with short rhymed quatrains; the matter is fixed metaphysical disgust, loosed in the free-verse tirade “We Shall Go Laughing,” which arraigns an idiot demiurge for mating flame and slime. A sonnet portrait of a hated small-town old man is sharpest The Believer — Ohe, Madge [Contribution, p. 6]
• Finale — Ohe, Madge [Contribution, p. 8]
• Pursuit — Ohe, Madge [Contribution, p. 22]
• Conservative — Ohe, Madge [Contribution, p. 5]
• Heiroglyphs — Ohe, Madge [Contribution, p. 9]
• A Builder of Fires — Ohe, Madge [Contribution, p. 9]
• We Shall Go Laughing — Ohe, Madge [Contribution, p. 16]
• A Small-Town Portrait — Ohe, Madge [Contribution, p. 75]
• Color of Dust — Ohe, Madge [Contribution, p. 269]
• Crusader — Ohe, Madge [Contribution, p. 304]
• Two Unlamented — Ohe, Madge [Contribution, p. 173]
• Onions, William Ellwell [also signed William Elwell Onions] Thwarted — Ohe, Madge [Contribution, p. 7]
• Wind — Ohe, Madge [Contribution, p. 17]
• The Harpist — Ohe, Madge [Contribution, p. 17]
• The Heavens Declare His Glory — Orr, Mabel Guinan [Contribution, p. 24]
• Osborne, Edith D. [also signed Edith Osborne] Portraits — Orr, Mabel Guinan [Contribution, p. 17]
• Desert Sage — Orr, Mabel Guinan [Contribution, p. 12]
• A Pagan’s Rosary — Orr, Mabel Guinan [Contribution, p. 15]
• Predatory — Oswald, Gerald R [Contribution, p. 167]
• P Packard, Doris [also signed Dorris Packard] Three of the four turn on one device, an hour of day personified with an agenda: dawn keeps a tryst, twilight turns thief, Sleep is a burglar “prying at the keyhole.” Alternating quatrains throughout, each poem clipping its last line short. The fourth is a sonnet to a dead mother Come Home a Little While — Oswald, Gerald R [Contribution, p. 7]
• The Tryst — Oswald, Gerald R [Contribution, p. 18]
• Thievery — Oswald, Gerald R [Contribution, p. 21]
• The Intruder — Oswald, Gerald R [Contribution, p. 11]
• Autumn — Page, Dorothy [Contribution, p. 8]
• Whimsy — Page, Dorothy [Contribution, p. 18]
• La Naive — Page, Dorothy [Contribution, p. 14]
• A Worshipper — Paine, Jean [Contribution, p. 21]
• Youth — Paine, Jean [Contribution, p. 26]
• Pampas-Bloom — Palmer, Bessie Pryor [Contribution, p. 101]
• Comparisons — Palmer, Bessie Pryor [Contribution, p. 75]
• Maid of Almesbury — Palmer, Bessie Pryor [Contribution, p. 227]
• The Spanish Exile — Palmer, Floy Bernice [Contribution, p. 158]
• Rhymed and conventional. The West is a long-lined hymn petitioning the Lord God of Hosts for Western courage, its refrain asking “the gift of seeing visions, and the gift of dreaming dreams”; the September sonnet takes Shawondasee and Mudway-aushka straight from Hiawatha. The manner throughout is borrowed The Voice of the Wilderness — Parmenter, Catherine [Contribution, p. 6]
• The West — Parmenter, Catherine [Contribution, p. 13]
• The First Crocus — Parmenter, Catherine [Contribution, p. 8]
• September — Parmenter, Catherine [Contribution, p. 286]
• Desire — Parrent, Daisy E. B [Contribution, p. 50]
• Autumn — Parrent, Daisy E. B [Contribution, p. 15]
• Le Jongleur — Parsons, Mable Holmes [Contribution, p. 161]
• Woven in Lavender — Patching, Peggy [Contribution, p. 147]
• Patterson, Antoinette DeCoursey [also signed Antoinette De Coursey Patterson] Narrative and anecdotal rather than lyric. Epigrammatic quatrains on the moon and on history’s tolerance of Lucrezia and Cleopatra sit beside long story-poems in alternating rhyme, one an Indian legend footnoted to its source, another on Siena’s keys given to the Madonna. A Venetian scene carries prose stage directions The Magician — Patching, Peggy [Fiction, p. 22]
• Challenged — Patching, Peggy [Contribution, p. 22]
• Judgments of History — Patching, Peggy [Fiction, p. 22]
• In Venice—Long Ago — Patching, Peggy [Contribution, p. 3]
• Persistent Errors — Patching, Peggy [Contribution, p. 11]
• The Sunset Hills — Patching, Peggy [Contribution, p. 10]
• In Old Siena — Patching, Peggy [Contribution, p. 14-15]
• Telegraph Hill — Patterson, Dorothy [Contribution, p. 16]
• Pease, Josephine van Dolzen [also signed Josephine Van Dolzen Pease] Devotional throughout and liturgical in shape: carols built on a returning refrain, Christmas measured against Easter, a night “made of white Hosts.” The unrhymed pieces run to five or six lines. Nothing exceeds a page, and the note is settled faith rather than struggle Sunsets — Patterson, Dorothy [Contribution, p. 9]
• Any Time, O Lord — Patterson, Dorothy [Contribution, p. 14]
• A Carol of the Way — Patterson, Dorothy [Contribution, p. 4]
• White Birches — Patterson, Dorothy [Contribution, p. 4]
• Natale — Patterson, Dorothy [Contribution, p. 4]
• Noel — Patterson, Dorothy [Contribution, p. 5]
• Motif — Patterson, Dorothy [Contribution, p. 299]
• Motif — Patterson, Dorothy [Contribution, p. 104]
• Revelation — Patterson, Dorothy [Contribution, p. 73]
• I Shall Come Home Again — Peck, Eileen [Contribution, p. 191]
• Chloe’s Closet — Peel, Maud [Contribution, p. 15]
• Shirley Poppies — Pelee, Lillian Sutton [Contribution, p. 10]
• The Geyser at Calistoga — Penny, Henrietta C [Contribution, p. 15]
• The North Wind — Penny, Henrietta C [Contribution, p. 16]
• The Night Wind — Perry, I. D [Contribution, p. 201]
• Aphrodite — Persov, Anne [Contribution, p. 99]
• Three rhymed quatrain lyrics of remembered love with folk-ballad furniture, ghosts, old gardens, a grey witch at her spring “Vancouver Barracks” breaks the pattern: unrhymed, flat, recalling guardhouse jokes and the vows soldiers swore about what they would do once free Old Gardens — Peterson, Ames [Contribution, p. 23]
• The Last Song — Peterson, Ames [Contribution, p. 24]
• Autumn — Peterson, Ames [Contribution, p. 15]
• Vancouver Barracks — Peterson, Ames [Contribution, p. 20]
• Six poems, all rhymed and most of them arguments rather than descriptions: the age as a dancer who strips and reels ‘to the muffled drums of doom,’ a hanged man’s mother blaming the machines that made him, Great Salt Lake as a shrunken and unsceptered king A Bookworm Speaks — Petri, Lori [Contribution, p. 79]
• Mater Dolorosa — Petri, Lori [Contribution, p. 231]
• Blue — Petri, Lori [Contribution, p. 146]
• Sheep — Petri, Lori [Contribution, p. 155]
• Great Salt Lake — Petri, Lori [Contribution, p. 215]
• Jazz Age — Petri, Lori [Contribution, p. 40]
• Long rhymed lines, close to fourteeners, built on repeated openings and refrain. Two of the five hand the refrain to other voices, children chanting over a leaf fire and the Broadway crowd “shifting and drifting along the street.” Diction elevated and exclamatory throughout July — Pfeiffer, Edward H [Contribution, p. 9]
• Caliban Aspiring — Pfeiffer, Edward H [Contribution, p. 10]
• She Dreams of Autumn — Pfeiffer, Edward H [Contribution, p. 1]
• In A Wood — Pfeiffer, Edward H [Contribution, p. 23]
• Broadway — Pfeiffer, Edward H [Contribution, p. 17]
• Calcutta — Phillips, Mabel W [Contribution, p. 7]
• Maples — Phlegar, Thelma [Contribution, p. 47]
• Pillsbury, Dorothy Pinckney [also signed Dorothy Pinkney Pillsbury] Coastwise Hills — Phlegar, Thelma [Contribution, p. 9]
• Voices — Phlegar, Thelma [Contribution, p. 19]
• Camp Fires — Phlegar, Thelma [Contribution, p. 6-7]
• (from the Chinese) — Po, Arthur E. Christy and Lee Cheuk [Contribution, p. 47]
• Post Office Sketches — Poland, Joseph Franklin [Contribution, p. 14-15]
• Wild Lilacs in California — Pope, Katherine [Contribution, p. 4]
• Five short pieces, mostly unrhymed and image-led. The Septains are three seven-line poems that widen to a long fifth line and taper, the last turning from Italian scenery to the grievance of “the drugged folk.” Elsewhere caged lions look past the bars and a moon misses its own reflection Septains — Porter, Anna [Contribution, p. 25]
• At the Zoo — Porter, Anna [Contribution, p. 18]
• A Sierra Juniper — Porter, Anna [Contribution, p. 18]
• On the Dunes — Porter, Anna [Contribution, p. 19]
• Moon Shadow — Porter, Anna [Contribution, p. 23]
• Escaped — Porter, Gene Stratton [Contribution, p. 12]
• Gifts — Powell, Julia [Contribution, p. 5]
• Wild Weather — Powell, Julia [Contribution, p. 8]
• Silver Night — Powers, Jessica [Contribution, p. 125]
• To a Round Moon — Powers, Jessica [Contribution, p. 285]
• Defiance — Prager, Mollie [Contribution, p. 81]
• High Treason — Prager, Mollie [Contribution, p. 144]
• Impotency — Prager, Mollie [Contribution, p. 68]
• Ballad quatrains and four-beat couplets on set subjects: a desert trail ridden by ghost horsemen, ships nosing the Embarcadero, a helmsman in a gale, an Irish fairy forge with “the Wood of Tara” for refrain. Sure of his swing, conventional in everything else; one late poem in free verse My Poverty — Pratt, Harry Noyes [Contribution, p. 5]
• The Shadow Trail — Pratt, Harry Noyes [Contribution, p. 12]
• The Gardener — Pratt, Harry Noyes [Contribution, p. 8]
• The Embarcadero — Pratt, Harry Noyes [Contribution, p. 13]
• Beloved — Pratt, Harry Noyes [Contribution, p. 7]
• The Wood of Tara — Pratt, Harry Noyes [Contribution, p. 21]
• The Helmsman — Pratt, Harry Noyes [Contribution, p. 20]
• A Blackbird Calling — Pratt, Harry Noyes [Contribution, p. 5]
• The Pine Tree — Pratt, Harry Noyes [Contribution, p. 19]
• The Swallow — Prescott, Elinor Manning [Contribution, p. 7]
• Trapped — Preston, Elizabeth D [Contribution, p. 12]
• I Would Forget — Preston, Elizabeth D [Contribution, p. 245]
• A collector of small set forms: a Crapsey cinquain scored in musical terms, an echo poem rhyming every line to a one-word tag (“Driftwood”), anaphoric tercets, and in Dancing Girl of Utica alternating indented couplets that play address to the mummy against flat third-person report Interludes — Price, Ruth Clay [Drama, p. 6]
• Viewpoint — Price, Ruth Clay [Contribution, p. 152]
• Beach Musings — Price, Ruth Clay [Contribution, p. 160]
• Eucalyptus Leaves — Price, Ruth Clay [Contribution, p. 201]
• Cinquain — Price, Ruth Clay [Contribution, p. 256]
• Trail’s End — Price, Ruth Clay [Contribution, p. 37]
• Dancing Girl of Utica — Price, Ruth Clay [Contribution, p. 107]
• Divertissements — Price, Ruth Clay [Contribution, p. 48]
• Point Loma — Prideaux, Rolla [Contribution, p. 24]
• A Lincoln Incident — Probst, Leetha Journey [Contribution, p. 180]
• Dawn Songs from the Uplands — Probst, Leetha Journey [Contribution, p. 198]
• Prosper, Joan Dareth [also signed Joan D. Prosper] Rhymed stanzas of five and four lines, mostly love and parting spoken to someone going away, with a recurring Renaissance company: Da Vinci, Giotto, Botticelli treated as personal acquaintances. Against that, “Velvet Sleeves” is a long stage-hand’s monologue in Broadway slang over a dead chorus girl Two Poems — Probst, Leetha Journey [Contribution, p. 80]
• Faggots — Probst, Leetha Journey [Contribution, p. 131]
• Inland — Probst, Leetha Journey [Contribution, p. 166]
• Names — Probst, Leetha Journey [Contribution, p. 234]
• Lyric — Probst, Leetha Journey [Contribution, p. 279]
• Chanson — Probst, Leetha Journey [Contribution, p. 291]
• Chanson — Probst, Leetha Journey [Contribution, p. 44]
• Scherzo — Probst, Leetha Journey [Contribution, p. 256]
• Portrait — Probst, Leetha Journey [Contribution, p. 5]
• The Model to a Statue of Herself — Probst, Leetha Journey [Contribution, p. 5]
• Velvet Sleeves — Probst, Leetha Journey [Contribution, p. 192]
• Orientale — Probst, Leetha Journey [Contribution, p. 249]
• Nocturne — Probst, Leetha Journey [Contribution, p. 43]
• Nine poems. Several are love poems under scriptural epigraphs, titled for hours of the day and set as a sonnet or in pentameter couplets. Against these stands ‘Imperial Valley,’ whose short battering lines take the heat directly, and a ballad of a woman who ruined the man who loved her Afternoon Song — Purnell, Idella [Contribution, p. 11]
• Evening Song — Purnell, Idella [Contribution, p. 11]
• Imperial Valley — Purnell, Idella [Contribution, p. 10]
• The Beauty-Circle — Purnell, Idella [Contribution, p. 15]
• Poetry — Purnell, Idella [Contribution, p. 8]
• Noon Song — Purnell, Idella [Contribution, p. 8-9]
• Music — Purnell, Idella [Contribution, p. 10-11]
• Repenting — Purnell, Idella [Contribution, p. 19-20]
• Miracles — Purnell, Idella [Contribution, p. 19]
• The Southern Cross — Quirk, Charles J [Contribution, p. 21]
• Grand Coteau Louisiana — Quirk, Charles J [Contribution, p. 21]
• Daybreak in the City — Quirk, Charles J [Contribution, p. 21]
• The Ghost — Ramsaur, Hugh W [Contribution, p. 257]
• Sin — Ramsay, Henry [Contribution, p. 22]
• Arthurian — Ramsay, Joan [Contribution, p. 226]
• Carmen — Randall, Grace [Contribution, p. 145]
• Aspiration — Randle, Emily [Contribution, p. 21]
• The Nun — Rankin, Mary Louise [Contribution, p. 24]
• Rain Is a Child — Rankin, Mary Louise [Contribution, p. 74]
• Cloistered Mood — Rankin, Mary Louise [Contribution, p. 174]
• Rose Jar — Ray, Louise Crenshaw [Contribution, p. 185]
• Moods — Ray, Louise Crenshaw [Contribution, p. 47]
• On a Holiday — Raymund, Bernard [Contribution, p. 22]
• Over The Hill — Raymund, Bernard [Contribution, p. 9]
• The Rain — Raymund, Bernard [Contribution, p. 5]
• Youth — Reeves, Grace E [Contribution, p. 265]
• Crucifixion — Reid, Peggy [Contribution, p. 181]
• In Heaven — Reini, Grace [Contribution, p. 77]
• True Thomas — Renick, Dorothy [Contribution, p. 9]
• The Minuet — Revere, Paula [Contribution, p. 4]
• Out of Purple Valleys — Rice, Craig [Contribution, p. 31]
• To Earth’s Great Dreamers — Rich, H. Thompson [Contribution, p. 11]
• Beauty — Rich, H. Thompson [Contribution, p. 30]
• Agatha — Ritchey, Gwynnyth J [Contribution, p. 4]
• The Lifted Cup — Rittenhouse, Jessie [Contribution, p. 6]
• Ritter, Margaret Tod [also signed Margaret Todd Ritter] Sonnets built on a sustained conceit, a galleon-sun or a smoldering volcano; a She/He dialogue in triple-rhyming quatrains; December personified with a tolling refrain. An Etching—From Memory runs three movements, each closing on a question and a clipped answer, “Yes—now.” Titles borrowed from music December — Rittenhouse, Jessie [Artwork, p. 3]
• Travail — Rittenhouse, Jessie [Contribution, p. 3]
• An Etching—From Memory — Rittenhouse, Jessie [Artwork, p. 13]
• Sonata Pathetique — Rittenhouse, Jessie [Contribution, p. 22]
• Sonnet of Undefeat — Rittenhouse, Jessie [Contribution, p. 6]
• Motif — Rittenhouse, Jessie [Contribution, p. 167]
• To a Breasted Mountain — Rittenhouse, Jessie [Contribution, p. 47]
• Hymn to the Rockies — Rittenhouse, Jessie [Contribution, p. 102]
• Romany — Roads, Helen Pursell [Contribution, p. 48]
• Dreams — Roberts, Bertha [Contribution, p. 109]
• An Appreciation of the Poetry of Madge Morris Wagner — Roberts, Caesar A [Contribution, p. 23]
• April and May — Robinson, Anne M [Contribution, p. 193]
• Youth Intrepid — Robinson, Earl [Contribution, p. 6]
• Accents of Night — Robinson, W. W [Contribution, p. 132]
• Four imagist pieces, none above nine lines, three of them printed together on a page. Candles before a mirror of old gold, vines with no color in the darkness, and in each an absent person whose going or return the image registers. Pure image, with no moral appended Image — Roche, Loretta [Contribution, p. 7]
• Absence — Roche, Loretta [Contribution, p. 7]
• Return — Roche, Loretta [Contribution, p. 7]
• Moment — Roche, Loretta [Contribution, p. 19]
• Wind Impressions — Rogers, Harold Herbert [Contribution, p. 17]
• Winter Dusk — Rogers, Harold Herbert [Contribution, p. 17]
• To Fay — Rogers, Harold Herbert [Contribution, p. 12]
• Needlewomen — Rogers, Helen Adele [Contribution, p. 115]
• The Italian Church in Chinatown — Rogers, Lillian [Contribution, p. 24]
• A Longing — Romany, Robin [Contribution, p. 20]
• The Trail — Romig, Edna Davis [Contribution, p. 186]
• “Ay, but to Lose our Bottles in the Pool” — Romig, Edna Davis [Contribution, p. 253]
• Spring Breakers — Rorty, James [Contribution, p. 155]
• At Any Beach — Rorty, James [Contribution, p. 229]
• Ships of the Desert — Rose, Herbert [Contribution, p. 56]
• Mediocrity — Rose, Herbert [Contribution, p. 137]
• Saul — Rosenbaum, Benjamin [Contribution, p. 20]
• Hill Souls — Rosenbaum, Benjamin [Contribution, p. 20]
• Rouveyrol, Aurania [also signed Aurania Rouveyroll] Over Again — Rosenbaum, Benjamin [Contribution, p. 19]
• My Heart’s a Rift of Song — Rosenbaum, Benjamin [Contribution, p. 3]
• Almost entirely hokku and tanka: ten hokku on the scenes of a Japanese fan, two tanka, four more on a garden after rain. She keeps the syllable count but decorates it with exclamation, apostrophe and imported fairies. One earlier piece is a pair of rhymed quatrain nocturnes Duette — Rowles, Georgia [Contribution, p. 7]
• Pictures on My Japanese Fan — Rowles, Georgia [Contribution, p. 23]
• Tankas — Rowles, Georgia [Contribution, p. 14]
• Garden Magic After Rain — Rowles, Georgia [Contribution, p. 201]
• When — Royal, Ariel [Contribution, p. 257]
• Two Paths — Russ, Penelope [Contribution, p. 23]
• Russell, Sydney King [also signed Sidney King Russell] Seventeen poems in a practiced range: Petrarchan sonnets, a blank-verse meditation, biblical narrative, and long ballad-quatrain tales of temptation and death. Beauty is the standing abstraction, capitalized and pursued. The outlier is Old King Jazz, a comic elegy scored to named Beale Street tunes Woodland Fear — Russ, Penelope [Contribution, p. 12]
• Desire — Russ, Penelope [Contribution, p. 13]
• The Young David — Russ, Penelope [Contribution, p. 16]
• The Poet in the City — Russ, Penelope [Contribution, p. 13]
• Legend — Russ, Penelope [Contribution, p. 17]
• The Enigma — Russ, Penelope [Contribution, p. 17]
• Mists — Russ, Penelope [Contribution, p. 17]
• Alms — Russ, Penelope [Contribution, p. 7]
• Two Poems — Russ, Penelope [Contribution, p. 132]
• Ministry — Russ, Penelope [Contribution, p. 182]
• Advice to a Lover — Russ, Penelope [Contribution, p. 39]
• The Snare — Russ, Penelope [Contribution, p. 133]
• Night — Russ, Penelope [Contribution, p. 281]
• Sonnet — Russ, Penelope [Contribution, p. 161]
• Old King Jazz — Russ, Penelope [Contribution, p. 200]
• Sonnet — Russ, Penelope [Contribution, p. 217]
• Death the Lover — Russ, Penelope [Contribution, p. 38]
• She Wants Such Simple Gifts — Ruthrauff, Henry Fitzgerald [Contribution, p. 16]
• Four short poems built on repetition: unrhymed stanzas each closing ‘For April,’ a mother remembered in eight lines of nothing but similes, and an incantation to water that repeats its address and hints at a drowning. Refrain is the whole method For April — Ruthrauff, Saidee Gerard [Contribution, p. 4]
• My Mother Was Sweet — Ruthrauff, Saidee Gerard [Contribution, p. 10]
• Wan Water — Ruthrauff, Saidee Gerard [Contribution, p. 18]
• There’s a Sound of Singing — Ruthrauff, Saidee Gerard [Contribution, p. 17]
• S Sabel, Marx C. [also signed Marx G. Sabel] Punishment — Ruthrauff, Saidee Gerard [Contribution, p. 12]
• Remembering — Ruthrauff, Saidee Gerard [Contribution, p. 12]
• The Children and Thomas — Sanborn, Robert Alden [Contribution, p. 14]
• North-woods and Chippewa material handled several ways: a war dance set as a chant for named tribal speakers in rhymed dimeter, an elegy for a tree-buried warrior with an ethnographic headnote, and a blank-verse narrative sustaining one figure, a woman as ripening wild plum, at length Thunderdrums — Sarett, Lew [Contribution, p. 3]
• To a Dead Pembina Warrior — Sarett, Lew [Contribution, p. 14]
• Fisher of Stars — Sarett, Lew [Contribution, p. 8]
• Angelique — Sarett, Lew [Contribution, p. 195]
• To a Grove of Silver Birches — Sarett, Lew [Contribution, p. 302]
• Sargent, Samuel M., Jr. [also signed Samuel M Sargent] Intersection — Sarett, Lew [Contribution, p. 16-17]
• Nightfall — Sarett, Lew [Contribution, p. 89]
• Glimpses — Sarett, Lew [Contribution, p. 12]
• Birthdays — Satterlee, Anna E [Contribution, p. 28]
• Saul, George Brandon [also signed Geo. Brandon Saul] Rhymed quatrains and one long unstopped ode, all in a high literary register — mildew, casements, futility, “the iron pulse of time.” The subject is always the same figure worn down by duration; the ballad quatrains of “Shadow” handle it better than the ode does Paean — Satterlee, Anna E [Contribution, p. 3]
• A Woman Watches the Sea — Satterlee, Anna E [Contribution, p. 4]
• Three Poems — Satterlee, Anna E [Contribution, p. 12]
• The Poet — Satterlee, Anna E [Contribution, p. 22]
• A Wood-Carving — Saunders, Whitelaw [Contribution, p. 10]
• Theme for a Ballet — Saunders, Whitelaw [Contribution, p. 24]
• Vexed Love — Saunders, Whitelaw [Contribution, p. 24]
• The Desert Passes — Scarborough, Cornelia Meade [Contribution, p. 11]
• Music is the constant: an Italianate sonnet, a ballad-stanza account of a mechanical piano heard from a hospital bed, and a prose poem on Beethoven’s Opus 97 addressed to a dead wife “Remonstrance” drops to light octosyllabic couplets about verse not paying Andante Con Moto — Schauffler, Robert Haven [Contribution, p. 19]
• Before the Great Adventure — Schauffler, Robert Haven [Contribution, p. 20]
• Music in Hospital — Schauffler, Robert Haven [Contribution, p. 20-21]
• Message — Schauffler, Robert Haven [Contribution, p. 150]
• Remonstrance — Schauffler, Robert Haven [Contribution, p. 110]
• The Poet — Schauffler, Robert Haven [Contribution, p. 252]
• Blue Moths of Yosemite — Schlesinger, Helen [Contribution, p. 22]
• Schutze, Lenore C. [also signed Lenore Schutze] Sonnet — Schlesinger, Helen [Contribution, p. 27]
• The Journey’s End — Schlesinger, Helen [Contribution, p. 310]
• Seven Western topographical pieces, all highly finished: monorhymed septenary triplets at San Juan Capistrano, internal-rhyme quatrains at Carmel, a catalogue of the summer constellations, jewel nouns like “chrysoberyl, chrysolite.” The exception is a blank-verse monologue recounting a Nevada faro-table shooting A Pacific Dayfall — Scollard, Clinton [Contribution, p. 5]
• The Cypress of Monterey — Scollard, Clinton [Contribution, p. 4-5]
• At San Juan Capistrano — Scollard, Clinton [Contribution, p. 4]
• A Day Went By — Scollard, Clinton [Contribution, p. 102]
• At Emerald Bay — Scollard, Clinton [Contribution, p. 255]
• The Drama’s End — Scollard, Clinton [Drama, p. 134]
• Song of the Summer Stars — Scollard, Clinton [Contribution, p. 252]
• Scotten, William E., Jr Two French Towns — Scollard, Clinton [Contribution, p. 22]
• Dawn — Scollard, Clinton [Contribution, p. 110]
• Words — Seaman, Hellene [Contribution, p. 251]
• Feu Sacré — Seaman, Hellene [Contribution, p. 277]
• Personality — Searcy, Helene [Contribution, p. 20]
• April Dawn — Searcy, Helene [Contribution, p. 20]
• Free verse in short strokes, imagist in method: garden sequences of six or eight lines, and one metaphor carried the length of a poem, dawn as a lean grey wolf, a train as “a querulous old red cow.” Also chinoiserie, and a moonlit dialogue with stage directions Scarlet Heart — Seelemire, Geraldine [Contribution, p. 177]
• Songs in a Garden above the Palisades — Seelemire, Geraldine [Contribution, p. 272]
• Dream Woman — Seelemire, Geraldine [Contribution, p. 301]
• Offering — Seelemire, Geraldine [Contribution, p. 21]
• Swimmer — Seelemire, Geraldine [Contribution, p. 137]
• Bitter Creek — Seelemire, Geraldine [Contribution, p. 176]
• Night Song — Seelemire, Geraldine [Contribution, p. 324]
• Drift — Seelemire, Geraldine [Contribution, p. 43]
• Wolf-Dawn — Seelemire, Geraldine [Contribution, p. 71]
• Rome — Shaw, Dorothy Stott [Contribution, p. 144]
• Bayou Salade — Shaw, Dorothy Stott [Contribution, p. 158]
• Sunset — Shead, Flossie Faith [Contribution, p. 23]
• A Warrior Returns Home — Shelley, Richard [Contribution, p. 18]
• Lead On! — Shepherd, Dombey [Contribution, p. 25]
• The Great Imagist — Sherman, Ellen Burns [Contribution, p. 11]
• By Night — Shipley, Joseph T [Contribution, p. 20]
• Four poems, two of them in plain couplets praising another person’s steadiness, one a quatrain apostrophe to a meadow lark The best is a free-verse reverie that travels from a teacup to an Eastern garden and is punctured by an ordinary voice asking “A bit more tea?” Orange Pekoe — Shipman, Clare [Contribution, p. 20]
• Recompense — Shipman, Clare [Contribution, p. 20]
• Meadow Lark — Shipman, Clare [Contribution, p. 4]
• In the Light of Christmas Candles — Shipman, Clare [Contribution, p. 6]
• Six poems, mostly unrhymed and short-lined, with nouns capitalized for emphasis: Stone Bowl, Harpist, Wild Things Western range material, bedding down and hobbled horses and a coyote running the scale, is worked into extended musical conceits. Also a desert poem in quatrains and sketches of chimneys, a sweatshop, Judas Dreamland — Shipp, E. Richard [Contribution, p. 15]
• True Harmony — Shipp, E. Richard [Contribution, p. 17]
• The ABandoned House — Shipp, E. Richard [Contribution, p. 17]
• A Murdered Monarch — Shipp, E. Richard [Contribution, p. 15]
• Three Sketches — Shipp, E. Richard [Contribution, p. 24]
• Nature’s Harp — Shipp, E. Richard [Contribution, p. 280]
• Lovers — Shumaker, Harriet Hall [Contribution, p. 20]
• Seen in April — Shumaker, Harriet Hall [Contribution, p. 11]
• Cards — Sigmund, Jay G [Contribution, p. 18]
• Segments — Silvay, Challiss [Contribution, p. 175]
• Chromatic — Silvay, Challiss [Contribution, p. 49]
• Two manners. Short hard-edged imagist pieces of five or six lines, “Copper oak leaves / On iron trees.” And six Italian-octave sonnets on a love not returned, unusually plain about self-abasement and closing in renunciation; a companion poem gives a widow her freedom and no use left for it Autumn — Sittig, Sigrid [Contribution, p. 10]
• Five Poems — Sittig, Sigrid [Contribution, p. 35]
• Sonnets Plucked from the Heart of a Woman — Sittig, Sigrid [Contribution, p. 82]
• January — Sittig, Sigrid [Contribution, p. 103]
• After Storm — Sittig, Sigrid [Contribution, p. 186]
• Spring — Sittig, Sigrid [Contribution, p. 187]
• Metal — Skavlan, Margaret [Contribution, p. 234]
• The Shadow River — Skavlan, Margaret [Contribution, p. 39]
• Aspiration — Skavlan, Margaret [Contribution, p. 170]
• The Hills of Santa Fe — Skeen, Ruth Loomis [Contribution, p. 6]
• The Archbishop’s Garden — Skeen, Ruth Loomis [Contribution, p. 20]
• Credo — Skeen, Ruth Loomis [Contribution, p. 17]
• Out Yonder — Skelton, Virginia [Contribution, p. 20]
• Skinner, Constance Lindsay [also signed Constance Skinner] Eight poems, nearly all incantatory free verse: song-cycles put in the mouths of Northwest Indian speakers, with glossed tribal names, and a chant for David before Saul. Parallelism and repetition do the work of metre; the subject is usually mating and fertility, treated frankly Hymn to the Dark — Skelton, Virginia [Contribution, p. 3]
• Nak-Ku Replies — Skelton, Virginia [Contribution, p. 4]
• Song of David Before Saul — Skelton, Virginia [Contribution, p. 3]
• Creed — Skelton, Virginia [Contribution, p. 15]
• Mandolines Under the Moon — Skelton, Virginia [Contribution, p. 15]
• Sea Cliff — Skelton, Virginia [Contribution, p. 6]
• Sycamores in Winter — Skelton, Virginia [Contribution, p. 12]
• Swiya’s Songs Beside Running Water — Skelton, Virginia [Contribution, p. 8]
• Swiya’s Songs Beside Running Water — Skelton, Virginia [Contribution, p. 14]
• Dramatic Poet — Smith, Chard Powers [Drama, p. 254]
• Roman Marching Song — Smith, Chard Powers [Contribution, p. 62]
• Birthright — Smith, Chard Powers [Contribution, p. 92]
• Petrarchan sonnets and short rhymed lyrics in archaic diction thick with gems and remote proper nouns: Lemuria, Atlantis, Altair, “almandines.” The muse is sought on Mars and Venus, and a long irregular ode addresses Omar Khayyam Accomplished, and wholly of the 1890s in manner In Lemuria — Smith, Clark Ashton [Contribution, p. 6]
• The Infinite Quest — Smith, Clark Ashton [Contribution, p. 6]
• The Absence of the Muse — Smith, Clark Ashton [Contribution, p. 14]
• Rosa Mystica — Smith, Clark Ashton [Contribution, p. 7]
• Haunting — Smith, Clark Ashton [Contribution, p. 6]
• Chant of Autumn — Smith, Clark Ashton [Contribution, p. 3]
• A Precept — Smith, Clark Ashton [Contribution, p. 4]
• The Song of Aviol — Smith, Clark Ashton [Contribution, p. 28]
• To Omar Khayyam — Smith, Clark Ashton [Contribution, p. 216]
• Two Authologies — Smith, Georgia D [Contribution, p. 26]
• Smith, H. G. [also signed Harriette G. Smith] The Mist — Smith, Georgia D [Contribution, p. 4]
• The Dreamer — Smith, Georgia D [Contribution, p. 5]
• The Siren — Smith, Georgia D [Contribution, p. 19]
• Rocket — Smith, Helen F [Contribution, p. 191]
• Smoke — Smith, Helen P [Contribution, p. 72]
• Robert Frost and the Ann Arbor Fellowship in Creative Art — Smith, Katherine G [Contribution, p. 28]
• A Garland of Lyrics — Smith, Katherine G [Contribution, p. 27-28]
• Smith, Marion Couthouy [also signed Marian Couthouy Smith] The Sea Speaks is a dramatic monologue of ten quatrains in the sea’s own voice, courting the moon as liege across a fourteen-night absence. The Silence of the Pines sets the pines as mute prophets in cadenced free verse; Recompense is a sonnet on recognition after death The Sea Speaks — Smith, Katherine G [Drama, p. 18]
• May, the Artist — Smith, Katherine G [Contribution, p. 3]
• The Silence of the Pines — Smith, Katherine G [Contribution, p. 4-5]
• Recompense — Smith, Katherine G [Contribution, p. 21]
• To the San Francisco Symphony Orchestra — Smith, Robert A [Contribution, p. 125]
• Five poems, all short-lined free verse without rhyme. She names her ground exactly: deer weed, rhus, penstemon and yarrow along a chaparral short-cut, the Pali at Nuuanu, a coyote remembered on a hill “where now high bill-boards spoil the sky.” Blowing Grasses — Smith, Sarah Bixby [Contribution, p. 16]
• My Coyote — Smith, Sarah Bixby [Contribution, p. 21]
• By Path — Smith, Sarah Bixby [Contribution, p. 15]
• My Motherland — Smith, Sarah Bixby [Contribution, p. 233]
• Interlude — Smith, Sarah Bixby [Contribution, p. 289]
• Red Rhododendrons — Soper, Laura De Witt [Contribution, p. 146]
• Northumberland — Spaulding, Edith B [Contribution, p. 68]
• Words Unspoken — Spaulding, Edith B [Contribution, p. 145]
• Spencer, Lilian White [also signed Lillian White Spencer] Over half of her fourteen poems are Petrarchan sonnets on the Spanish and Pueblo Southwest: Tesuque, San Miguel at Santa Fe, Mesa Verde, memorial sonnets for Chief Ouray and Fray long blank-verse convalescence and a quatrain St. Francis The Old Pueblo — Spaulding, Edith B [Contribution, p. 20]
• San Miguel Tlaxcaltecos — Spaulding, Edith B [Contribution, p. 17]
• Santo Domingo-Easter — Spaulding, Edith B [Contribution, p. 3]
• Atonement — Spaulding, Edith B [Contribution, p. 13]
• To Walt Whitman — Spaulding, Edith B [Contribution, p. 23]
• To a Bride — Spaulding, Edith B [Contribution, p. 5]
• The Old Home — Spaulding, Edith B [Contribution, p. 37]
• Westerners — Spaulding, Edith B [Contribution, p. 183]
• Apple Tree — Spaulding, Edith B [Contribution, p. 227]
• The Dryads — Spaulding, Edith B [Contribution, p. 66]
• Canticle of the Sun — Spaulding, Edith B [Contribution, p. 3]
• Far View — Mesa Verde — Spaulding, Edith B [Contribution, p. 100]
• Cerebral — Spaulding, Edith B [Contribution, p. 248]
• Pessimist — Spaulding, Edith B [Contribution, p. 71]
• The Progress of Youth — Spero, Anna Kalfus [Contribution, p. 25]
• Five poems of confinement and denial, regular in rhyme and stanza but knotted in syntax, with a vocabulary of gyves, hasps and bolts. Tethered, the longest, sets a woman staked to the two acres of violets she raised for bread. The obscurity is habitual and often defeats sense The Return — Stait, Virginia [Contribution, p. 22]
• The Vased Rose — Stait, Virginia [Contribution, p. 11]
• Tethered — Stait, Virginia [Contribution, p. 7]
• Condemned — Stait, Virginia [Contribution, p. 88]
• Voices — Stait, Virginia [Contribution, p. 76]
• Ranges from eight-line quatrain epigrams to long free-verse catalogues, with weather personified as women and a fondness for diminutive jingling, “skirly, whirly, roguish winds.” Best when he undercuts himself: in To Hymen a castle, a mission and a desert are each deflated by an inhabitant’s flat complaint Purple Mists — Stearn, Noel [Contribution, p. 156]
• Risus Solis — Stearn, Noel [Contribution, p. 215]
• Query — Stearn, Noel [Contribution, p. 253]
• Indian Summer — Stearn, Noel [Contribution, p. 275]
• Harvest Song — Stearn, Noel [Contribution, p. 50]
• Second Hand — Stearn, Noel [Contribution, p. 69]
• Choice — Stearn, Noel [Contribution, p. 121]
• Perversity — Stearn, Noel [Contribution, p. 229]
• Dawn — Stearn, Noel [Contribution, p. 257]
• To Hymen — Stearn, Noel [Contribution, p. 35]
• Sky Egret — Stearns, Elise [Contribution, p. 147]
• Yeg Yhee — Steen, Josephine Mason [Contribution, p. 38]
• Ere Twilight Comes — Stephen, A. M [Contribution, p. 172]
• Challenge — Stephen, A. M [Contribution, p. 131]
• Sterling, George [also signed George Stirling] Five poems, and the widest range of form here: paired Petrarchan sonnets on fog over the redwoods, a ballad of elopement that ends in a killing, Sierra landscape quatrains, and long seven-beat lines addressed to Charles Warren Stoddard. He can hold a sentence across an octave without strain Problem — Stephen, A. M [Contribution, p. 16]
• The Fog-Sea — Stephen, A. M [Contribution, p. 5]
• The Flight — Stephen, A. M [Contribution, p. 4-5]
• From the Valley — Stephen, A. M [Contribution, p. 12]
• To Charles Warren Stoddard — Stephen, A. M [Contribution, p. 13]
• The Oldest Book — Stephen, A. M [Contribution, p. 232]
• Oh, Silver Moon — Stetson, Alice [Contribution, p. 275]
• My Love — Stevens, Beatrice [Contribution, p. 7]
• Homesickness — Stevens, Eleanor Mathews [Contribution, p. 12]
• Stewart, C. D. [also signed Clare D. Stewart] Now I Would Tell You the Things Untellable — Stevens, Eleanor Mathews [Contribution, p. 23-24]
• Offering — Stevens, Eleanor Mathews [Contribution, p. 18]
• Five poems in jeweled diction, moonstone and nacre and jade, that turn dry at the close: a Lorelei promising to drown her admirer, a tour of frozen stars, and a quatrain dismissal ending “Angry? Ah, good-bye, and don’t forget to write.” My Soul — Stewart, Irene [Contribution, p. 174]
• Lorelei Thoughts — Stewart, Irene [Contribution, p. 282]
• Incompatible — Stewart, Irene [Contribution, p. 283]
• Mallards — Stewart, Irene [Contribution, p. 7]
• Afterward — Stewart, Irene [Contribution, p. 97]
• Divided between jaunty rhymed lyrics of hill-climbing and contentment and free verse of more interest: a frank serenade to a woman’s body, crickets dancing in “black lacquered shoes,” and a three-part sequence set at the silk counter, the millinery mirror and the handkerchief table Summer Rapture — Stewart, Winifred Gray [Contribution, p. 24]
• Sky Wind — Stewart, Winifred Gray [Contribution, p. 17]
• Serenade — Stewart, Winifred Gray [Contribution, p. 275]
• Weaving — Stewart, Winifred Gray [Contribution, p. 253]
• Ten O’Clock — Stewart, Winifred Gray [Contribution, p. 277]
• Shopping Tour — Stewart, Winifred Gray [Contribution, p. 218]
• Five poems, and unusually for the magazine mostly narrative: a long-lined ballad of a Mexican girl on Echo Mountain revisited long after, an Italian sonnet on a blind child, and The Price, a blank-verse fiord tragedy that repeats its epithets for Dagmar like a saga Wanderer—A Morning Walk — Stillwell, Ethel Brooks [Contribution, p. 8-9]
• The Call — Stillwell, Ethel Brooks [Contribution, p. 8]
• The Return — Stillwell, Ethel Brooks [Contribution, p. 20]
• To a Blind Baby — Stillwell, Ethel Brooks [Contribution, p. 7]
• The Price — Stillwell, Ethel Brooks [Contribution, p. 242]
• Four poems, no two alike, each reaching for an odd word or a learned one: the Point Loma breezes personified, the north wind “frampold” and jazzing; a sunset in terza rima that the poet footnotes with the Eleusinian calendar; two rhymed lyrics of a lavish lover and a waiting woman Point Loma Breezes — Stoddard, Yetta Kay [Contribution, p. 16]
• Rich — Stoddard, Yetta Kay [Contribution, p. 16]
• The Big Show — Stoddard, Yetta Kay [Contribution, p. 16]
• You Shall Sail — Stoddard, Yetta Kay [Contribution, p. 13]
• Six poems in several manners: songlike quatrains, a comic narrative ballad in sixains that talks Naughty Nell past St. Peter, a blank-verse vision of escape from Space and Time, and a Shakespearean sonnet on a lover who saw only her own face in the pool. Practiced, finished, impersonal Truancy — Stork, Charles Wharton [Contribution, p. 21]
• Half-Light Happiness — Stork, Charles Wharton [Contribution, p. 22]
• To Heifetz — Stork, Charles Wharton [Contribution, p. 23]
• Naughty Nell — Stork, Charles Wharton [Contribution, p. 6]
• The New Dimension — Stork, Charles Wharton [Contribution, p. 136]
• It Was Not Me You Cared For — Stork, Charles Wharton [Contribution, p. 131]
• Gardens — Stryker, Carrie Woodward [Contribution, p. 31]
• Sturges, Lucy Hale [also signed Lucy H. Sturges] Eight poems of furnished settings: Alexandria, a Japanese triptych of torii and maple leaves, a desert of seven palms, a tea table of ‘old mahogany and Russian brass.’ Free verse and light rhymed quatrains alike; the strength is exact naming of materials rather than anything said Temporal — Stryker, Carrie Woodward [Contribution, p. 6]
• Noon — Stryker, Carrie Woodward [Contribution, p. 6]
• Romance — Stryker, Carrie Woodward [Contribution, p. 7]
• The Desert — Stryker, Carrie Woodward [Contribution, p. 9]
• Kwacho — Stryker, Carrie Woodward [Contribution, p. 18]
• Cho-Cho-San — Stryker, Carrie Woodward [Contribution, p. 9]
• Chrysanthemums — Stryker, Carrie Woodward [Contribution, p. 299]
• Incantation — Stryker, Carrie Woodward [Contribution, p. 107]
• Puppet Moon — Stryker, Carrie Woodward [Contribution, p. 42]
• Samarkand — Stryker, Carrie Woodward [Contribution, p. 37]
• A Note on Modern Music and Poetry — Sturkow-Ryder, Madame [Contribution, p. 23]
• Charlemagne — Sullivan, Maurice S [Contribution, p. 16]
• Earthquake — Summers, Richard A [Contribution, p. 261]
• Wheat Fields in Kansas — Surmelian, Eugene [Contribution, p. 9]
• Moon — Swain, Y. F [Contribution, p. 227]
• Fugitive — Swain, Y. F [Contribution, p. 292]
• A Singer Says Good-Bye — Swett, Margery [Contribution, p. 10]
• The New Frontiers — Swett, Margery [Contribution, p. 3]
• In a Doorway — Swett, Margery [Contribution, p. 9]
• Four poems, harder-worked than the magazine’s norm. Two run long: a tropical childhood set against New England’s “grave monotone,” and Outer Circle, which makes each waking hour an island ringed first by sleep and then by death. Her rhyme is irregular and her syntax runs across the line Moods of Women — Taggard, Genevieve [Contribution, p. 23]
• She Comes After Years to the Ocean — Taggard, Genevieve [Contribution, p. 23]
• Child Tropics Remembered in New England — Taggard, Genevieve [Contribution, p. 13]
• The Outer Circle — Taggard, Genevieve [Contribution, p. 6]
• Watchman and Star — Taggart, E. Vashti [Contribution, p. 16]
• A sonneteer with a taste for the sour clinch. Sea-Captain spends twelve lines on wrecks off Algiers and the Scillys so its man can drown in a foot of harbour water; Paulo Majora Canamus catalogues lynching and jail, then turns to praise God’s infinite mercies The Return of the Prodigal — Tanaquil, Paul [Contribution, p. 26]
• Two Men — Tanaquil, Paul [Contribution, p. 21]
• Ancient — Tanaquil, Paul [Contribution, p. 24]
• Stratagem — Tanaquil, Paul [Contribution, p. 13]
• Paris — 1923 — Tanaquil, Paul [Contribution, p. 134]
• Two Sonnets — Tanaquil, Paul [Contribution, p. 208]
• Paulo Majora Canamus — Tanaquil, Paul [Contribution, p. 282]
• The Phantom — Taylor, Lucile [Contribution, p. 9]
• Terrell, R. Marshall [also signed Rachel Marshall Terrell] Moonrise — Taylor, Lucile [Contribution, p. 205]
• Three Trees — Taylor, Lucile [Contribution, p. 20]
• Seasons — Thew, Vivienne [Contribution, p. 5]
• Yellow Violets — Thomas, Elizabeth Henke [Contribution, p. 223]
• Reward — Thomas, Martha Banning [Contribution, p. 25]
• Make Believe — Thompson, Jessie Eberly [Contribution, p. 276]
• Boy in the Surf — Thompson, Roy T [Contribution, p. 16]
• Gottfried Hult, a Hunter of Symbols — Thompson, Roy T [Contribution, p. 60]
• Prairie Night — Thompson, Susan [Contribution, p. 22]
• The Living Presence — Thurston, Charlotte W [Contribution, p. 6]
• The Vanished Presence — Thurston, Charlotte W [Contribution, p. 13]
• Three of the four appeared together in one number: short rhymed pieces on thistledown, butterflies and cobwebs, worked entirely in simile, galleons and fairy looms and “frosted quilts for fairies’ beds.” The fourth substitutes two unrhymed sketches of hills and pines. Fanciful and slight Thistledown — Thurston, Helen [Contribution, p. 19]
• Butterflies — Thurston, Helen [Contribution, p. 19]
• Cob-Webs — Thurston, Helen [Contribution, p. 19]
• Woodland Sketches — Thurston, Helen [Contribution, p. 19]
• Sea Moods — Tibeau, Beatrice [Contribution, p. 81]
• Titus, Eleanor M. [also signed Eleanor Mary Titus] Blossoms — Tibeau, Beatrice [Contribution, p. 8]
• Evening — Tibeau, Beatrice [Contribution, p. 160]
• Smoke — Tibeau, Beatrice [Contribution, p. 250]
• Shadow of Night — Tibeau, Beatrice [Contribution, p. 259]
• The Outcast — Tobias, Ruby Weyburn [Contribution, p. 104]
• Storm — Tobias, Ruby Weyburn [Contribution, p. 139]
• As It Ever Shall Be — Tobias, Ruby Weyburn [Contribution, p. 67]
• Tonio Signs with one name. Four poems of long ragged lines, irregularly rhymed, all retrospective and addressed to a you, set among sage and cactus on “the broken mother hills.” The New Woman’s Last Note keeps repeating its question, why were you sad. The syntax strains and sometimes gives way The Secret Knowledge — Tobias, Ruby Weyburn [Contribution, p. 168]
• This Poet’s Dream — Tobias, Ruby Weyburn [Contribution, p. 281]
• The New Woman’s Last Note — Tobias, Ruby Weyburn [Contribution, p. 305]
• Moon Dance — Tobias, Ruby Weyburn [Contribution, p. 9]
• From off the Bay — Topping, Frances Hull [Contribution, p. 80]
• Ariel — Topping, Frances Hull [Contribution, p. 169]
• Hope — Tourelle, Elsa M [Contribution, p. 111]
• Questions — Towne, Charles Hanson [Contribution, p. 20]
• His Will — Townsend, Georgina S [Contribution, p. 27]
• Orchestration — Tractman, Judith [Contribution, p. 22]
• Youth Has Not Flown — Traver, Olive Young [Contribution, p. 23]
• Man to Woman — Trent, Lucia [Contribution, p. 13]
• The Log House — Trombly, Albert Edmund [Contribution, p. 20]
• November in Texas — Trombly, Albert Edmund [Contribution, p. 24]
• End of the Year — Trombly, Albert Edmund [Contribution, p. 11]
• Translations of Original Japanese Tanka — Tsurumi, Yorozu [Contribution, p. 263]
• Persona lyrics in plain ballad quatrains, spoken by women in vernacular: a three-part spinster sequence with the rain asking “Where is your lover?”, a charwoman remembering daffodils as she pushes her pail, a girl whose soldier lies under chicory in France Spinster Songs — Tunstall, Virginia Lyne [Contribution, p. 10]
• The Char-Woman — Tunstall, Virginia Lyne [Contribution, p. 8]
• Credo — Tunstall, Virginia Lyne [Contribution, p. 5]
• A Prayer for Crippled Men — Tunstall, Virginia Lyne [Contribution, p. 16]
• Flowers of the Dust — Tunstall, Virginia Lyne [Contribution, p. 70]
• The Living Frieze — Turbyfill, Mark [Contribution, p. 25]
• The Gallant Warrior — Turnbull, Belle [Contribution, p. 19]
• A Woman’s Diary — Turnbull, Belle [Contribution, p. 15]
• Colorado Easter — Turnbull, Belle [Contribution, p. 8]
• Turner, Ethel D. [also signed Ethel Turner] Boats in the Mist — Turnbull, Belle [Contribution, p. 15]
• The Dark — Turnbull, Belle [Contribution, p. 24]
• Painter — Turner, Juanita [Contribution, p. 22]
• Music — Turner, Juanita [Contribution, p. 111]
• Mud — Uerkvitz, Herta [Contribution, p. 19]
• Moon Madness — Uerkvitz, Herta [Contribution, p. 19]
• The Orient Visits New York — Underwood, Chi-Twang Chu and Ethel Worthley [Contribution, p. 104]
• Four appearances, every one a numbered sequence announced as such: A Little Sequence, improvisations on dated Chinese fan paintings in blank verse, a sequence written in Cartagena, and Andean travel pieces with a footnote glossing puna Cosmopolitan, ornamental, never a single short lyric Dances of the Flame — Underwood, Edna Worthley [Contribution, p. 11]
• Fans—Improvisations from Old Chinese Paintings — Underwood, Edna Worthley [Contribution, p. 8]
• By the Carib Sea — Underwood, Edna Worthley [Contribution, p. 166]
• Songs From the Andes — Underwood, Edna Worthley [Contribution, p. 126]
• Alternates long Whitmanic lines that run toward prose with tightly rhymed quatrains, both heavily alliterated. The matter is Southwestern: arroyos, pinyon, the Santa Fe plaza. Burros is the best of them, tracing the cross on the animal’s back through Spain to Egypt and setting it against motor cars Waiting—Mist — Underwood, John Curtis [Contribution, p. 3]
• Aria — Underwood, John Curtis [Contribution, p. 4]
• The Last Divide — Underwood, John Curtis [Contribution, p. 6]
• The Critic — Underwood, John Curtis [Contribution, p. 7]
• Interval — Underwood, John Curtis [Contribution, p. 3]
• Carmen de Ciudad — Underwood, John Curtis [Contribution, p. 22]
• Burros — Underwood, John Curtis [Contribution, p. 27]
• Five of seven are sonnets, Italian in the octave and argumentative in method: whether love dies when reason kills it, what it is to eat a cold beloved’s crumbs, why God wears the moon as a mask. The other two are a free-verse night piece and a quatrain Eden Nude Sleeper — Upper, Joseph [Contribution, p. 22]
• Resurrection — Upper, Joseph [Contribution, p. 23]
• Inhibition — Upper, Joseph [Contribution, p. 81]
• “Not Wisely, But Too Well” — Upper, Joseph [Contribution, p. 279]
• Wrecks — Upper, Joseph [Contribution, p. 18]
• Eden — Upper, Joseph [Contribution, p. 110]
• Moon Memory — Upper, Joseph [Contribution, p. 42]
• Uschold, Maud Elfrid [also signed Maud E. Uschold] Printed mostly in groups of two and three, half rhymed quatrains and half short free verse. The mark is hard compound diction, “wind-rowelled water,” indigo ingots, an egg-eyed hare, and a habit of deflation: the beasts guarding a man’s soul turn out to be mice Two Poems — Upper, Joseph [Contribution, p. 103]
• Three Poems — Upper, Joseph [Contribution, p. 267]
• Assignation — Upper, Joseph [Contribution, p. 197]
• Inhibitions — Upper, Joseph [Contribution, p. 21]
• Lacquer Twilight — Upper, Joseph [Contribution, p. 5]
• Spring Beauty — Vail, Harold [Contribution, p. 24]
• van Wyck, William To J. D. V. W — Vail, Harold [Contribution, p. 19]
• Magdalene — Vail, Harold [Contribution, p. 194]
• Zola — Vail, Harold [Contribution, p. 11]
• Sonnets and rhymed quatrains, fluent and heavily cadenced, often built of stacked similes. The recurring subject is beauty as an injury, “I have been hurt too much by lovely things,” and a parting. Two late pieces turn outward, to a wharf at night and a woman seen as a ghost A Song for April — Vinal, Harold [Contribution, p. 20]
• Dryad — Vinal, Harold [Contribution, p. 17]
• Snow Nocturne — Vinal, Harold [Contribution, p. 5]
• Early Loves — Vinal, Harold [Contribution, p. 6]
• Spring Beauty — Vinal, Harold [Contribution, p. 7]
• Distances — Vinal, Harold [Contribution, p. 13]
• Sonnet — Vinal, Harold [Contribution, p. 12]
• Cessation — Vinal, Harold [Contribution, p. 78]
• Apparition — Vinal, Harold [Contribution, p. 173]
• von Wiegand, Charmion [also signed Charmian von Wiegand] Flights — Vinal, Harold [Contribution, p. 13]
• Wind Prints of a Dancer — Vinal, Harold [Contribution, p. 16-17]
• Love Song — Wade, Otis [Contribution, p. 211]
• Wade, Robert E., Jr Montana Lake — Wade, Otis [Contribution, p. 132]
• Velvet — Wall, Katherine [Contribution, p. 201]
• Unusual here for writing comedy. Bourrico is a long fable in heroic couplets: a laden donkey argues philosophy with a well-fed one, swaps places, and prospers. Also a blank-verse dream vision, a whimsy on the preferred build of angels, and an epigram reckoning hate as debt The Account—Visitors — Wallace, Grace [Contribution, p. 23]
• Dream-Tracks — Wallace, Grace [Contribution, p. 19]
• A Preference in Angels — Wallace, Grace [Contribution, p. 25]
• Bourrico — Wallace, Grace [Contribution, p. 23]
• Like Three Gold Temples — Wallace, Grace [Contribution, p. 22]
• Children — Wallace, Leslie [Contribution, p. 232]
• Accord — Wallace, Leslie [Contribution, p. 102]
• The Buddhist’s Bell — Walther, Alice McCray [Contribution, p. 54]
• Walton, Eda Lou [also signed Eda Lu Walton] Two poems spoken in a Navajo voice, one a prayer against witchcraft that names Slayer of Alien Gods and turns on nail-parings and fallen hair. Elsewhere, free-verse confession from a virgin who has borne a dream-child, and an extended musical conceit worked over fuchsias Truth Absolute — Walther, Alice McCray [Contribution, p. 18]
• In Silence — Walther, Alice McCray [Contribution, p. 18]
• Moon Child — Walther, Alice McCray [Contribution, p. 9]
• Prayer Against Witchcraft — Walther, Alice McCray [Contribution, p. 9]
• Fuchsias — Walther, Alice McCray [Contribution, p. 23]
• Upon Reading the Browning Letters — Walther, Alice McCray [Contribution, p. 13]
• Alternates hymn-quatrains on wheat and plains with declared modern experiment: a Sandburg imitation whose three passengers each hide a violent errand behind “Omaha,” winds sketched as roué, busybody and psycho-analyst, and a five-line rhyme on zinnias out-praying the preacher Song of the Plains — Ward, May Williams [Contribution, p. 5]
• Upon Reading Sandburg’s “Limited” — Ward, May Williams [Contribution, p. 6]
• The Restless Tamed — Ward, May Williams [Contribution, p. 20]
• Personalities — Ward, May Williams [Contribution, p. 56]
• Outside the Village Church — Ward, May Williams [Contribution, p. 222]
• I See a Star — Ward, May Williams [Contribution, p. 70]
• Trees at Night — Warnack, James M [Contribution, p. 11]
• For the Chinook — Warren, Horatio [Contribution, p. 61]
• To a Waterfall — Waters, Jane E [Contribution, p. 285]
• North Wind — Watkins, Eleanor Preston [Contribution, p. 12]
• The Canyon Cascade — Watson, Evelyn M [Contribution, p. 19]
• Desert Cry — Watt, Effie Whyte [Contribution, p. 174]
• Trails — Webb, Margaret Ely [Contribution, p. 19]
• The Woods Are Still — Webb, Margaret Ely [Contribution, p. 8]
• The Journey — Webster, Louise [Contribution, p. 26-27]
• A Wash Piece — Webster, Martha [Contribution, p. 24]
• Gas Well Blow-Out — Webster, Martha [Contribution, p. 28-29]
• Reaction — Welch, Marie de L [Contribution, p. 284]
• The Soul’s Summer — Whitaker, Robert [Contribution, p. 20]
• World Wonders — White, Nancy Ellen [Contribution, p. 22]
• May Moon — White, Nancy Ellen [Contribution, p. 22]
• Desert Thirst — White, Samuel Alexander [Contribution, p. 140]
• Quest — Whitehead, Douglass [Contribution, p. 95]
• Seventeen poems, elegiac and long-breathed: rhymed pentameter couplets and quatrains, Petrarchan sonnets, and sequences on Nazareth, on Poe, on St. Francis. Beauty does much of the work as an abstraction, though the catalogue poems on houses and old latticed windows keep to observed detail Leaves — Whiteside, Mary Brent [Contribution, p. 16]
• Consolation — Whiteside, Mary Brent [Contribution, p. 20]
• Guests — Whiteside, Mary Brent [Contribution, p. 4]
• Journey — Whiteside, Mary Brent [Contribution, p. 20]
• Houses — Whiteside, Mary Brent [Contribution, p. 12]
• The Seeking — Whiteside, Mary Brent [Contribution, p. 13]
• Three Sonnets — Whiteside, Mary Brent [Contribution, p. 3-4]
• You Shall See the Wind — Whiteside, Mary Brent [Contribution, p. 4]
• Sea Rythm — Whiteside, Mary Brent [Contribution, p. 22]
• The Minor Poets — Whiteside, Mary Brent [Contribution, p. 3]
• The Child in Galilee — Whiteside, Mary Brent [Contribution, p. 67]
• Egyptian Evening — Whiteside, Mary Brent [Contribution, p. 114]
• Completion — Whiteside, Mary Brent [Contribution, p. 149]
• Old Houses — Whiteside, Mary Brent [Contribution, p. 11]
• Israfel (Edgar Allen Poe) — Whiteside, Mary Brent [Contribution, p. 290]
• The Troubadour of God — Whiteside, Mary Brent [Contribution, p. 1]
• The Bulbul and the Child — Whiteside, Mary Brent [Contribution, p. 63]
• Five lyrics, three in ballad quatrains and two in loose rhymed free verse, on grief and reassurance: the dead met again in dream, beauty offered as reason to bear the world. “Glamour” is the exception, an allegory of a ruined house where she had expected shelter Hill Sunset — Widdemer, Margaret [Contribution, p. 3]
• Glamour — Widdemer, Margaret [Contribution, p. 16]
• Vision — Widdemer, Margaret [Contribution, p. 65]
• Message — Widdemer, Margaret [Contribution, p. 245]
• Distance — Widdemer, Margaret [Contribution, p. 42]
• Mostly unrhymed long-line free verse, given to catalogue and to speakers who are not herself: a beached sailor guarding a movie lot, Lady Godiva’s husband, a chorus of machines threatening their makers. The diction is deliberately rough. Two late nature pieces in rhyme are ordinary beside them Bill Harper — Wierman, Frances [Contribution, p. 146]
• The Husband of Lady Godiva — Wierman, Frances [Contribution, p. 205]
• City Rivers — Wierman, Frances [Contribution, p. 79]
• A Song for a Lark — Wierman, Frances [Contribution, p. 233]
• Woman — Wierman, Frances [Contribution, p. 129]
• Budding — Wierman, Frances [Contribution, p. 229]
• Machinery — Wierman, Frances [Contribution, p. 44]
• Grey Days — Wierman, Frances [Contribution, p. 69]
• Scars — Wilcox, Almira Richardson [Contribution, p. 28]
• Flowers of Portugal — Wilkinson, Florence [Contribution, p. 222]
• The Missive — Willard, Edna Constance [Contribution, p. 46]
• Williams, B. Y. [also signed B. Y: Williams] Two poems speak from odd vantages, a second wife in her grave still jealous of the first, and Cleopatra’s soul lodged in an unlovely body. The other two report China in fourteener couplets and rhymed octaves, six bandits beheaded at Tsinan, a sing-song girl drawn in the period’s stock exotics Forgotten — Willard, Edna Constance [Contribution, p. 38]
• In the Province of Shantung — Willard, Edna Constance [Contribution, p. 17]
• A Sing-Song Girl — Willard, Edna Constance [Contribution, p. 162]
• The Soul of Cleopatra — Willard, Edna Constance [Contribution, p. 255]
• At Love’s Door — Williams, Oscar [Contribution, p. 5]
• Lives on a Piece of White Paper — Williams, Reed [Contribution, p. 17]
• The Violincello — Williamson, Estella M [Contribution, p. 18-20]
• Circumstance — Willian, Ruth H [Contribution, p. 21]
• To An Old Lover — Willian, Ruth H [Contribution, p. 21]
• Kin — Willian, Ruth H [Contribution, p. 21]
• Williard, Pierrepont [also signed Pierrepont Willard] Along The Bayous — Willian, Ruth H [Contribution, p. 6]
• The Decision — Willian, Ruth H [Contribution, p. 21]
• Sleep — Wilson, Charlotte Joy [Contribution, p. 19]
• The Windmill — Wilson, Claire [Contribution, p. 108]
• Impressions — Wilson, Doris G [Contribution, p. 26]
• Unrhymed free verse, short lines, exclamatory, on dawn over mountains, stars, pines and birds. Repetition is her only real device, and in “Bees in the Honeysuckle” it runs to fifty lines of gold, gold-dust and drone, incantation rather than description Criss-cross Pattern — Wilson, Ethel Brodt [Contribution, p. 20]
• Dreams of Morning — Wilson, Ethel Brodt [Contribution, p. 199]
• Silences — Wilson, Ethel Brodt [Contribution, p. 264]
• Each Star a Flower — Wilson, Ethel Brodt [Contribution, p. 51]
• I Have Seen — Wilson, Ethel Brodt [Contribution, p. 195]
• Bees in the Honeysuckle — Wilson, Ethel Brodt [Contribution, p. 256]
• The Quail’s Grace — Wilson, Margaret Adelaide [Contribution, p. 13]
• When I Was Happy — Wilson, Margaret Adelaide [Contribution, p. 10]
• I Kissed My Love To-day — Wilson, Margaret Adelaide [Contribution, p. 7]
• The Magnet — Winn, Mary Day [Contribution, p. 17]
• The Usurer — Winship, Charles [Contribution, p. 13]
• Unification — Winship, Charles [Contribution, p. 22]
• Casseopeia — Wolfe, Walter B [Contribution, p. 13]
• Some Mothers to Some Daughters — Wolverton, Sarah Foss [Contribution, p. 230]
• Dead Trees — Wolverton, Sarah Foss [Contribution, p. 124]
• Symbols — Wood, Franklin N [Contribution, p. 185]
• Antinous — Wood, Narcisse [Contribution, p. 21]
• Tapestry — Wood, Narcisse [Contribution, p. 4]
• At The Tamborine — Woodruff, James Lloyd [Contribution, p. 112]
• In the Studio — Woolley, Lawrence Foss [Contribution, p. 242]
• The Neurosis of Poets — Wright, Muriel [Contribution, p. 181]
• Black Armour — Wylie, Elinor [Contribution, p. 31]
• The Skyrocket — Yarnell, Esther [Contribution, p. 24]
• Color — Yarnell, Esther [Contribution, p. 3]
• “I Have Climbed the Dark Hills” — Yarnell, Esther [Contribution, p. 10]
• Four poems. Two are elegies for a dead boy in plain unrhymed lines, and they carry her: heaven is faulted because “there are no scraps of paper” there, the child having wanted nothing else. A sonnet and a candle-lighting song are conventional The Lotus Pool — Zuker, Anne [Contribution, p. 139]
• His Lordship in Heaven — Zuker, Anne [Contribution, p. 232]
• The Sensitive — Zuker, Anne [Contribution, p. 105]
• Tapers of the Heart — Zuker, Anne [Contribution, p. 66]
• PROSE The departments, articles, reviews and notices, filed under the hand the contents page names. Initials are the magazine’s own: A G. is Allison Gaw, who wrote the serial essay on the stanza; L. B M. is Lois Burton Moon; R. T. T. is Roy Towner Thompson. They are left as he set them A. B The Artistry of the Stanza, XVIII — Zuker, Anne [Review, p. 261]
• A. G Symbolic Values in Stanzaic Forms — Zuker, Anne [Contribution, p. 84]
• The Artistry of the Stanza, IV — Zuker, Anne [Contribution, p. 116]
• The Theory of the Stanza, V — Zuker, Anne [Contribution, p. 146]
• The Artistry of the Stanza, VI — Zuker, Anne [Contribution, p. 178]
• The Artistry of the Stanza. VII — Zuker, Anne [Contribution, p. 207]
• The Artistry of the Stanza, VIII — Zuker, Anne [Contribution, p. 236]
• The Artistry of the Stanza, IX — Zuker, Anne [Contribution, p. 266]
• The Artistry of the Stanza, X — Zuker, Anne [Contribution, p. 293]
• The Artistry of the Stanza — Zuker, Anne [Contribution, p. 23]
• The Artistry of the Stanza — Zuker, Anne [Contribution, p. 53]
• The Artistry of the Stanza, XIII — Zuker, Anne [Contribution, p. 82]
• The Artistry of the Stanza, XIV — Zuker, Anne [Contribution, p. 112]
• The Artistry of the Stanza, XV — Zuker, Anne [Contribution, p. 172]
• The Artistry of the Stanza, XVI — Zuker, Anne [Contribution, p. 202]
• The Artistry of the Stanza, XVII — Zuker, Anne [Contribution, p. 232]
• The Artistry of the Stanza — Zuker, Anne [Contribution, p. 287]
• Review—High Passage by T. H Ferril — Axtell, Elizabeth [Review, p. 269]
• Comment — Barrington, Pauline [Essay, p. 25]
• Poems — Barrington, Pauline [Contribution, p. 29]
• Comment — Barrington, Pauline [Essay, p. 26]
• Comment — Barrington, Pauline [Essay, p. 22]
• Comment — Barrington, Pauline [Essay, p. 21]
• Comment — Barrington, Pauline [Essay, p. 23]
• Comment — Barrington, Pauline [Essay, p. 24]
• Comment, The Dream, Masefield — Barrington, Pauline [Essay, p. 25-26]
• Comment—The Hundred and One Harlequins—Sitwell — Barrington, Pauline [Essay, p. 27]
• Comment — Barrington, Pauline [Essay, p. 32]
• Comment — Barrington, Pauline [Essay, p. 29-30]
• Comment—Selected Poems by Robert Frost — Barrington, Pauline [Essay, p. 25]
• Comment—Birds, Beasts and Flowers—D. H Lawrence — Barrington, Pauline [Essay, p. 25]
• Comment Vol. III No. 10 · Feb. 1924 28-29-30 Comment — Barrington, Pauline [Essay, p. 29-30]
• The Foremost American Poet? — Dixon, James Main [Contribution, p. 57]
• Comments on Life — Eldridge, Paul [Essay, p. 218]
• Comments on Life — Eldridge, Paul [Essay, p. 303]
• Comment — Elliot, William Foster [Essay, p. 27]
• Being Modern With Sophocles — Elliot, William Foster [Contribution, p. 24]
• G. A. D Editorial Comment — Elliot, William Foster [Essay, p. 29-30]
• The Artistry of the Stanza — Gaw, Allison [Contribution, p. 28]
• The Artistry of the Stanza, II — Gaw, Allison [Contribution, p. 57]
• The Honorable Pedigree of Free Verse — Gaw, Allison [Contribution, p. 49]
• In Memoriam — Harriman, Alice [Contribution, p. 122]
• Notes — Kimball, D. B [Contribution, p. 29]
• L. B. M Brief Reviews — Kimball, D. B [Review, p. 29]
• Book Reviews — Kimball, D. B [Review, p. 59]
• Reviews — Kimball, D. B [Review, p. 149]
• In Review — Kimball, D. B [Review, p. 180]
• In Brief Review — Kimball, D. B [Review, p. 208]
• In Review — Kimball, D. B [Review, p. 237]
• Review—Cyclops’ Eye by Joseph Auslander — Kimball, D. B [Review, p. 268]
• Brief Reviews — Kimball, D. B [Review, p. 27]
• A Prisoner Sings — Lench, W. H [Contribution, p. 155]
• Star Dust and Gardens — McCormick, Virninia Taylor [Contribution, p. 26]
• Miss Edna Millay — McWilliams, Carey [Contribution, p. 25]
• The Little Road — Mills, Ellen Morrill [Contribution, p. 30]
• Review—Slow Smoke, by Lew Sarett — Moon, Lois Burton [Review, p. 120]
• Review — Puritan by Isabel F Conant — Moon, Lois Burton [Review, p. 152]
• Review — Color, by Countee Cullen — Moon, Lois Burton [Review, p. 211]
• Brief Reviews — Moon, Lois Burton [Review, p. 272]
• In Review—Tristram, by E. A Robinson — Moon, Lois Burton [Review, p. 57]
• Red Poppies in the Wheat — Moreland, John Richard [Contribution, p. 30]
• P. B The New Books of Poetry — Moreland, John Richard [Contribution, p. 27]
• In Memoriam — Painter, Elizabeth [Contribution, p. 206]
• R. T. T Book Notes — Painter, Elizabeth [Contribution, p. 92]
• A Scholar-poet — Painter, Elizabeth [Contribution, p. 155]
• Minor Poets — Painter, Elizabeth [Contribution, p. 185]
• Japanese Hokku — Painter, Elizabeth [Contribution, p. 220]
• Connotation — Painter, Elizabeth [Contribution, p. 251]
• Amy Lowell — Painter, Elizabeth [Contribution, p. 285]
• R. W Simplicity in Poetry — Painter, Elizabeth [Contribution, p. 31-32]
• [unsigned] Comment—Notes — Painter, Elizabeth [Essay, p. 26-28]
• Comment—Notes — Painter, Elizabeth [Essay, p. 26]
• Comment on the Prevalence of Poetry — Painter, Elizabeth [Essay, p. 23]
• Notes — Painter, Elizabeth [Contribution, p. 26]
• Comment — Painter, Elizabeth [Essay, p. 25]
• Notes — Painter, Elizabeth [Contribution, p. 27]
• Notes — Painter, Elizabeth [Contribution, p. 24]
• Notes — Painter, Elizabeth [Contribution, p. 29]
• Comment — Painter, Elizabeth [Essay, p. 27]
• Comment — Painter, Elizabeth [Essay, p. 24]
• Comment — Painter, Elizabeth [Essay, p. 26]
• Notes — Painter, Elizabeth [Contribution, p. 28]
• Books Received — Painter, Elizabeth [Review, p. 35]
• Comment — Painter, Elizabeth [Essay, p. 32]
• Books Received — Painter, Elizabeth [Review, p. 25]
• Notes — Painter, Elizabeth [Contribution, p. 32]
• Notes — Painter, Elizabeth [Contribution, p. 31]
• Prize Awards — Painter, Elizabeth [Contribution, p. 25]
• Contents of Volume IV — Painter, Elizabeth [Contribution, p. 313]
• Announcement of Prize Awards — Painter, Elizabeth [Contribution, p. 62]
• Books Received — Painter, Elizabeth [Review, p. 64]
• Our Contributors — Painter, Elizabeth [Contribution, p. 92]
• Some Contributors in the Present Issue — Painter, Elizabeth [Contribution, p. 123]
• Books Received — Painter, Elizabeth [Review, p. 154]
• Index to Volume V — Painter, Elizabeth [Contribution, p. 296]
• Review — Painter, Elizabeth [Review, p. 1927]
• Prize Award — Painter, Elizabeth [Contribution, p. 148]
• In Memoriam — Grace Atherton Dennen — Painter, Elizabeth [Contribution, p. 261]
• Index to Volume VI — Painter, Elizabeth [Contribution, p. 292]
• Announcement — Painter, Elizabeth [Contribution, p. 60]
• The Library Shelf — Painter, Elizabeth [Contribution, p. 85]
• The “New” Spoon River — Wann, Louis [Contribution, p. 121]
• Review—The Eternal Quest — Williams, Dudley [Review, p. 91]
• Review—Sanctuary, by Virginia Stait — Williams, Dudley [Review, p. 242]
• ENTRIES THE CONTENTS LEAVES UNSIGNED The contents page gives these no name. Some are poems: a translation, a group listed once under the name of the group, a poem the printer set without a signature, and the leaf itself often names the poet where the contents does not. Others are the magazine’s own matter — Between Editor and Reader, the award of a prize, a notice, an erratum — which is unsigned because it is the magazine speaking. They are left together here rather than sorted on a guess Chicago — Williams, Dudley [Contribution, p. 26]
• Words and Music for a California State Song — Williams, Dudley [Contribution, p. 25]
• Poems Receiving Honorable Mention — Williams, Dudley [Contribution, p. 29]
• The Prize Poems of the Year — Williams, Dudley [Contribution, p. 27]
• The Light Guitar by Arthur Guiterman — Williams, Dudley [Contribution, p. 27]
• Spring River; Flowers and Moon at Night—Translated from the Chinese by T. Y. Leo and Albion Fellows — Williams, Dudley [Contribution, p. 10-11]
• Between Editor and Reader — Williams, Dudley [Contribution, p. 28]
• Book Notes — Williams, Dudley [Contribution, p. 29]
• Between Editor and Reader — Williams, Dudley [Contribution, p. 60]
• Between Editor and Reader — Williams, Dudley [Contribution, p. 312]
• Between Editor and Reader — Williams, Dudley [Contribution, p. 32]
• Between Editor and Reader — Williams, Dudley [Contribution, p. 63]
• Award of the Sarah Bixby Smith Prize — Williams, Dudley [Contribution, p. 90]
• Our Younger Singers — Williams, Dudley [Contribution, p. 1926]
• Our Younger Singers—Announcement — Williams, Dudley [Contribution, p. 122]
• Error — Williams, Dudley [Contribution, p. 124]
• Wanted — Williams, Dudley [Contribution, p. 124]
• Three Visions of Death — Williams, Dudley [Contribution, p. 1926]
• Award of the Charles Granger Blanden Prize — Williams, Dudley [Contribution, p. 153]
• Prizes Now in Competition — Williams, Dudley [Contribution, p. 154]
• Our Young Singers — Williams, Dudley [Contribution, p. 1926]
• Editorially Speaking — Williams, Dudley [Essay, p. 183]
• I. The Gargoyle; II. Treasure; III Genoa; — Williams, Dudley [Contribution, p. 1926]
• IV. For Frances Ann; V. The Exile — Williams, Dudley [Contribution, p. 1926]
• 1. Time; II. Time-Space; III. Children; IV. Poet and Merchant; V. Wealth — Williams, Dudley [Contribution, p. 1926]
• Poets—A Symposium — Williams, Dudley [Contribution, p. 1926]
• The Eternal Feminine — Williams, Dudley [Contribution, p. 1926]
• I. The Harper — His Prologue; II. Incident; III — Williams, Dudley [Contribution, p. 1926]
• Harvest Law; IV. A Voice Heard at Dusk by a River; — Williams, Dudley [Contribution, p. 1926]
• V. Responsibility — Williams, Dudley [Contribution, p. 1926]
• Prize Announcement — Williams, Dudley [Contribution, p. 28]
• Special offer — Williams, Dudley [Contribution, p. 60]
• Our Younger Singers — Williams, Dudley [Contribution, p. 1927]
• Prize Announcement — Williams, Dudley [Contribution, p. 120]
• Prize Announcement — Williams, Dudley [Contribution, p. 210]
• Notice — Williams, Dudley [Contribution, p. 239]
• An Apostrophe to the Moon — Williams, Dudley [Contribution, p. 1927]
• Page of Youth: — Williams, Dudley [Contribution, p. 1927]
• Poets, Poetry, and Perspectives — Williams, Dudley [Contribution, p. 80]
• Who’s Who in Lyric West — Williams, Dudley [Contribution, p. 83]

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*Lyric West - An Index of Poets*. Text/Tech Journals, digital edition, 2026.