THE JOURNALS

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

ALL EDITIONS

Journal Issue

The Lyric West, Vol. 4, No. 8 (May 1925)

In Giovanni Malatesta, Miriam Allen de Ford brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 4, No. 9 (July 1925)

Here the break with genteel lyric convention begins in Richard A. Summers’s Earthquake.

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Journal Issue

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

Chrysanthemums by Lucy Hale Sturges marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 5, No. 1 (October 1925)

The number’s sharpest formal turn belongs to Patterson Greene’s The Artist Receives Notice of a Bequest.

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Journal Issue

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

In The Parable of Deepness, Vachel Lindsay brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 5, No. 3 (December 1925)

Here the break with genteel lyric convention begins in Frances Wierman’s City Rivers.

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Journal Issue

The Lyric West, Vol. 5, No. 4 (January 1926)

The Orient Visits New York by Chi-Hwang Chu and Edna Worthley Underwood marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 5, No. 5 (February 1926)

Modernism enters this number through Montana Lake by Robert E. Wade, Jr. The poem organizes description through sentence-length lines around “The Japanese painters know”; emphasis shifts through image, enjambment, and changes in syntactic pace, bringing East Asian forms and translated perspectives into the magazine’s field of subjects.

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Journal Issue

The Lyric West, Vol. 5, No. 6 (March 1926)

The number’s sharpest formal turn belongs to Geraldine Seelemire’s Bitter Creek.

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Journal Issue

The Lyric West, Vol. 5, No. 7 (April 1926)

In Shelley in Our House, Jo Hartman brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 5, No. 8 (June 1926)

Here the break with genteel lyric convention begins in Grace Stone Coates’s Diathesis.

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Journal Issue

The Lyric West, Vol. 5, No. 9 (August 1926)

Translations of Original Japanese Tanka by Yorozu Tsurumi marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 5, No. 10 (September 1926)

Modernism enters this number through Incompatible by Irene Stewart.

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Journal Issue

The Lyric West, Vol. 6, No. 1 (October 1926)

In In the Province of Shantung, B. Y. Williams brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 6, No. 2 (November 1926)

Here the break with genteel lyric convention begins in Ethel Romig Fuller’s Voices.

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Journal Issue

The Lyric West, Vol. 6, No. 3 (December 1926)

Wolf-Dawn by Geraldine Seelemire marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 6, No. 4 (January 1927)

Modernism enters this number through Dancing Girl of Utica by Ruth Clay Price.

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Journal Issue

The Lyric West, Vol. 6, No. 5 (February 1927)

The number’s sharpest formal turn belongs to Clinton Scollard’s The Drama’s End.

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Journal Issue

The Lyric West, Vol. 6, No. 6 (March 1927)

In The Clavilux, Madge Ohe brings the issue’s modernist pressure into focus.

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Journal Issue

The Lyric West, Vol. 6, No. 7 (April 1927)

Here the break with genteel lyric convention begins in Henri Faust’s Whistles.

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Journal Issue

The Lyric West, Vol. 6, No. 8 (May 1927)

Moon-Storm by Dana Burnet marks the issue’s most conspicuous opening toward modernist practice.

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Journal Issue

The Lyric West, Vol. 6, No. 9 (June 1927)

Modernism enters this number through Cerebral by Lilian White Spencer.

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Journal Issue

The Lyric West, Vol. 6, No. 10 (September 1927)

The number’s sharpest formal turn belongs to Arthur Jonson’s Poems for a Chinese Anthology.

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Journal Issue

The Lyric West, Vol. 7, No. 1 (October 1927)

Here the break with genteel lyric convention begins in Richard Shelley’s A Warrior Returns Home.

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