Title:
Rogue

Date of Publication:
Mar. 15, 1915 (1.1) – Dec. 1916 (2.3)

Place(s) of Publication:
New York City, NY

Frequency of Publication:
Though it claimed to be a semimonthly magazine, it published erratically

Circulation:
Vol. 1, no. 1 claims a 15,000 copy print run (almost certainly ironic). If similar to comparable magazines, probably 500 per run.

Publisher:
New York : Rogue, Inc., 1915-1916. 

Physical Description:
26cm; Approximately 15-20 pages

Price:
5 cents per issue / $1 per year (1915)
10 cents per issue / $2 per year (1916)

Editor(s):
Allen Norton

Associate Editor(s):
Unknown

Libraries with Complete Original Issues:
Many more libraries have only the first volume

New York Public Library (NYPL); Beinecke, Yale University Library; Harry Ransom Center, The University of Texas at Austin

Reprint Editions: 
None

Fashioning itself as a play on Vogue, Rogue was magazine of extraordinary wit, consisting of poetry, short drama, short fiction, and articles on fashion, art and current events—as Jay Bochner puts it, “a sort of downtown version of Vanity Fair, mock[ing] the whole body of Victorian culture from within…” (49). It was supported by Conrad Arensberg’s patronage and edited by Allen and Louise Norton. Allen Norton was chief editor of the magazine for its entire run, though Louise Norton arguably played an equal or greater role in the magazine’s publication. Though it only lasted a year and a half (Mar. 1915 – Dec. 1916) and published at inconsistent intervals, the magazine can claim poetry and artwork of Wallace Stevens, Gertrude Stein, Mina Loy, Clara Tice and others.

As Jessica Burnstein points out in Cold Modernism, “Rogue was all about fashion” (160). Its pages were strewn with trousers, corsets and tuxedos. For each issue Louise Norton wrote a section entitled “Philosophic Fashions” under the pseudonym Dame Rogue. It discussed shoes, buttons, skirts and the modern woman’s relation to each (celebrating, for example, a new corset design as a symbol for liberation). The magazine was also was playful, the second page of the first issue saying, “Advertise in ROGUE – It doesn’t pay” (the second issue exchanged “doesn’t” for “does”). The aphorism—the pithy, astute, witty, acerbic observation—may be the representative genre of Rogue.

Rogue subverted gender conventions and appealed to both men and women on its pages—as long as you (whether woman or man) felt comfortable stepping into modernity with this “Cigarette of Literature.” The fashion references highlighted tuxedos as well as corsets, though the advertisements were often more masculine in emphasis: “Rogue trusts everyone but himself,” and the perpetual “He wears the Dartmouth” suit advertisement.

Its short, haphazard life and brilliant contributors make it a seeming synecdoche of modernist little magazine’s elite playfulness.

Though Rogue never published an explicit manifesto, it published a great deal of sayings about itself. Here is a sampling:

“Advertise in ROGUE — It doesn’t pay” (Vol. 1., No. 1: 2)

“A magazine that believes in the people, and that the people express genius even more than genius itself.” (Vol. 1., No. 1: 3)

“Rogue Trusts Everyone But Himself… Rogue Sells the Truth And The Untruth for 5 cents $1.00 a Year” (Vol. 1, No. 1: 6)

“A magazine that does not believe in the people, or that the people express genius even more than genius itself.” (Vol. 1, No. 1: 3)

Allen Norton
Editor: Mar. 1915 – Dec. 1916

In addition to editing Rogue, Allen Norton wrote his own poetry, collected in a volume entitled Saloon sonnets: with Sunday flutings (which received a rather unfortunate review on page 41 of the Fifth volume of Poetry: A Magazine of Verse). He was married to Louise Norton, who contributed a great deal to Rogue. They divorced in 1916.

Louise Norton (remarried as Varèse) (1891 – 1989)
Co-founder and Editor: Mar. 1915 – Dec. 1916

After writing and editing for Rogue, Louise grew to critical acclaim as a translator of French poetry and fiction. She was married to French composer, Edgard Varèse, writing his biography, “Varese: A Looking-Glass Diary.” Her forward begins with the lines, “I feel that I am in honor bound to warn musicians and musicologists that they will find nothing musical about the music of Varèse in this book by his nonmusical wife.” (9). Her wit and intelligence characterized her writing all through her life.

Walter Conrad Arensberg:
Falling Asleep
Human
The Inner Significance of the Statues Seated Outside the Boston Public Library
To A Poet

Djuna Barnes:
The Awkward Age
The Flute Player

Homer Croy:
Yes, Trousers Are Handy

Charles Demuth:
Filling a Page (A Pantomime With Words)

Alfred Kreymborg:
Asleep
Bally-Boo
Overhead in an Asylum
To a Canary

Robert Locher:
The Corset Coach
One, One, One, There Are Many of Them
Watch Your Step!

Mina Loy:
Sketch of a Man on a Platform
Three Moments in Paris
Two Plays
Virgins Plus Curtains Minus Dots

Allen Norton:
Allen Plants Roses
Arrows
The Idiot in the Lion’s Garret
Spring Days in Fall
Verse
The Wind Was Singing Songs to Me
With Me Without You

Gertrude Stein:
Aux Galeries Lafayette

Wallace Stevens:
Cy Est Pourtraicte, Madame STE. Ursule, Et Les Unze Mille Vierges
Disillusionment of Ten O’Clock
Tea

Clara Tice:
Piety
Falling Asleep
ROGUE’S Booklovers’ Contest
Virgin Minus Verse

Carl Van Vechten:
An Interrupted Conversation
The Nightingale and the Peahen
How Donald Dedicated His Poem

Bochner, Jay. “The Marriage of Rogue and The Soil.” Little Magazines and Modernism: New Approaches. Burlington, VT: Ashgate Publishing, 2007. 49–66. Print.

Burstein, Jessica. Cold Modernism: Literature, Fashion, Art. University Park, Pennsylvania: The Pennsylvania State University Press, 2012. WorldCat Discovery Service. Web. 18 Sept. 2015.

Churchill, Suzanne. The Little Magazine Others and the Renovation of Modern American Poetry. Ashgate Publishing, Ltd., 2006. Print.

Churchill, Suzanne W., and Adam McKible. Little Magazines & Modernism: New Approaches. Aldershot, England ; Ashgate Pub., 2007. WorldCat Discovery Service. Web. 18 Sept. 2015.

Longworth, Deborah. “The Avant-Garde in the Village: Rogue.” The Oxford Critical and Cultural History of Modernist Magazines: Volume II: North America 1894-1960. OUP Oxford, 2012. Print.

Varèse, Louise. Varèse: A Looking-Glass Diary. New York, NY: W. W. Norton and Company, 1972. Print.

Watson, Steven. Strange Bedfellows: The First American Avant-Garde. 1st ed. New York: Abbeville Press, 1991. Print.

White, Eric. Transatlantic Avant-Gardes: Little Magazines and Localist Modernism. Edinburgh University Press, 2013. Print.

“Rogue” Compiled by Andrew Rikard (Class of 2017, Davidson College)

Title: 
Poetry: A Magazine of Verse 
Subtitle dropped v. 71

Date of Publication: 
October 1912 (1.1) –

Place(s) of Publication: 
Chicago, Illinois

Frequency of Publication: 
Monthly

Circulation: 
1,065 (1912 – 1913)
1,891 (1921 – 1922)

Publisher:
Harriet Monroe, 543 Cass St., Chicago (Oct. 1912 – Jan. 1915)
Seymour, Daughaday and Company, 1025 Fine Arts Building, Chicago (Feb. 1915 – Sept. 1915)
Ralph Fletcher Seymour, 1025 Fine Arts Building, Chicago (After Oct. 1915)

Physical Description: 
5 x 7; originally bound in a light tan cover that always contained a picture of Pegasus.

Price: 
$1.50 per year (1912 – 1913)
$3 per year (1921 – 1922)

Editor(s): 
Harriet Monroe

Associate Editor(s): 
Alice Corbin Henderson
Ezra Pound (Foreign Editor)

Libraries with Original Issues: 
Brown University; University of California, Los Angeles
Searchable PDFs of 1912 – 1922 available at Brown University’s Modernist Journals Project

Reprint Editions: 
New York, New York: AMS Reprint. Covers 1912 – 1928.
Chicago, Modern Poetry Association, (1912 – ). Reorganized as the Poetry Foundation, 2002.

Harriet Monroe founded Poetry: A Magazine of Verse in 1912 because she was dissatisfied with the opportunities available for American poets. Popular magazines gave poetry a minor role, as they desired more “serious” fiction and essays; Monroe sought to remedy this problem by creating a publication exclusively for poets. She hoped to create a magazine in which poems of extensive length and difficulty could be published, as well as provide forum for amateurs trying to put their work in circulation. An open door policy was established in 1912, keeping the magazine open to all poetic schools.

With the help of patron and friend HC Taylor, Monroe solicited one hundred businessmen and women to pledge fifty dollars a year for five years to ensure Poetry‘s economic stability during its infancy. Monroe sent a “poets circular” in search of contributors to fifty American and British poets, almost all of whom replied with interest to her inquiry. Among her earliest and most notable supporters were Ezra Pound, who served as the magazine’s foreign editor, and the indispensable Alice Corbin Henderson, Monroe’s associate editor. In its first years Poetry boasted an impressive list of contributors which included Wallace Stevens, Lindsay Vachel, and W. B. Yeats, as well as several pioneers in the Imagiste movement, such as Pound, H. D., and Amy Lowell.

One of the more conservative little magazines in print, Poetry gained the respect of a wide audience. It published the first poems of fledgling poets like Marianne Moore as well as the work of more established poets like T. S. Eliot and Robert Frost. As it increased in both prestige and age, Poetry became the definitive magazine of verse, publishing both minor and canonized twentieth century poets to the present day.

In the first issue, Harriet Monroe explicitly stated the magazine’s purpose and aims:

THE MOTIVE OF THE MAGAZINE

“In the huge democracy of our age no interest is too slight to have an organ. Every sport, every little industry requires its own corner, its own voice, that it may find its friends, greet them, welcome them.

The arts especially have need of each an entrenched place, a voice of power, if they are to do their work and be heard. For as the world grows greater day by day, as every member of it, through something he buys or knows or loves, reaches out to the ends of the earth, things precious to the race, things rare and delicate, may be overpowered, lost in the criss-cross of modern currents, the confusion of modern immensities.

Painting, sculpture, music are housed in palaces in the great cities of the world; and every week or two a new periodical is born to speak for one or the other of them, and tenderly nursed at some guardian’s expense. Architecture, responding to commercial and social demands, is whipped into shape by the rough and tumble of life and fostered, willy-nilly, by men’s material needs. Poetry alone, of all the fine arts, has been left to shift for herself in a world unaware of its immediate and desperate need of her, a world whose great deeds, whose triumphs over matter, over the wilderness, over racial enmities and distances, require her ever-living voice to give them glory and glamour.

Poetry has been left to herself and blamed for inefficiency, a process as unreasonable as blaming the desert for barrenness. This art, like every other, is not a miracle of direct creation, but a reciprocal relation between the artist and his public. The people must do their part if the poet is to tell their story to the future; they must cultivate and irrigate the soil if the desert is to blossom as the rose.

The present venture is a modest effort to give to poetry her own place, her own voice. The popular magazines can afford her but scant courtesy–a Cinderella corner in the ashes–because they seek a large public which is not hers, a public which buys them not for their verse but for their stories, pictures, journalism, rarely for their literature, even in prose. Most magazine editors say that there is no public for poetry in America; one of them wrote to a young poet that the verse his monthly accepted “must appeal to the barber’s wife of the Middle West,” and others prove their distrust by printing less verse from year to year, and that rarely beyond page-end length and importance.

We believe that there is a public for poetry, that it will grow, and that as it becomes more numerous and appreciative the work produced in this art will grow in power, in beauty, in significance. In this belief we have been encouraged by the generous enthusiasm of many subscribers to our fund, by the sympathy of other lovers of the art, and by the quick response of many prominent poets, both American and English, who have sent or promised contributions.

We hope to publish in Poetry some of the best work now being done in English verse. Within space limitations set at present by the small size of our monthly sheaf, we shall be able to print poems longer, and of more intimate and serious character, than the popular magazines can afford to use. The test, limited by ever-fallible human judgment, is to be quality alone; all forms, whether narrative, dramatic or lyric, will be acceptable. We hope to offer our subscribers a place of refuge, a green isle in the sea, where Beauty may plant her gardens, and Truth, austere revealer of joy and sorrow, of hidden delights and despairs, may follow her brave quest unafraid.”

Poetry: A Magazine of Verse, 1:1 (1912): 26-28.

Harriet Monroe (Dec. 23, 1860 – Sept. 26, 1936)
Editor: Oct. 1912 – July 1936 

Harriet Monroe, a Chicago native, spent part of her early life studying in China. Upon her return to the United States she was highly dissatisfied with the poetic scene. Her poetry submissions were rejected from magazines such as Atlantic Monthly, a publication that, like many, held the view that poetry was a mere filler for the more important essays and articles. In 1912 at the age of fifty-one, she created a new forum exclusively for poets: Poetry. During her lifetime Monroe edited several volumes of poetry, wrote a book of collected essays, Poets and their Art, co-edited an anthology called The New Poetry with her colleague and friend Alice Corbin Henderson, and composed an autobiography, A Poet’s Life.

Alice Corbin Henderson (Apr. 16, 1881 – July 18, 1949)
Associate Editor: Oct. 1912 – 1922

Drawing upon the experiences gained from moving frequently in her childhood, Alice Corbin Henderson published her first book of poetry when she was a junior in high school. When she moved to Chicago in 1903, she met art instructor William Penhallow Henderson, whom she married and who illustrated her first children’s work, Adam’s Dream and Two Other Miracle Plays for Children (1909). In 1912 she cofounded Poetry with Harriet Monroe. Henderson often receives credit for discovering such poets as Ezra Pound, Robert Frost, and Carl Sandburg (Anderson). She and Monroe edited an anthology, The New Poetry (1917), but Henderson fell ill and sought a warmer region for her health. She spent the final years of her life in Santa Fe, embracing the regional voice; the Henderson’s New Mexican home, Camino del Monte Sol, became a popular gathering ground for authors like Witter Bynner and John Gould Fletcher to share their works.

Conrad Aiken
“Discordants”

Richard Aldington
“Choricos”

H. D.
“The Shrine”

T. S. Eliot
“The Love Song of J. Alfred Prufrock”

Robert Frost
“The Code-Heroics”

Joyce Kilmer
“Trees”

D. H. Lawrence
“Don Juan”

Amy Lowell
“Red Slippers”

Marianne Moore
“The Wizard in Words”

Ezra Pound
“In a Station of the Metro”

Carl Sandburg
“Chicago Poems”

Wallace Stevens
“Phases”

William Carlos Williams
“Postlude”

W. B. Yeats
“The Realists”

Anderson, H. Allen. “Henderson, Alice Corbin.” American National Biography Online. 2000. American Council of Learned Societies. 7 July 2009.

Arzaga, Lorelei. The Poetics of Harriet Monroe. MA thesis. California State University, Long Beach, 1992.

Cahill, Daniel J. Harriet Monroe. New York: Twayne Publishers, 1973.

Goldbarth, Albert. “The Lake.” Georgia Review (1996): 360-379.

Henderson, Alice Corbin. “Harriet Monroe and Poetry’s Early Years.” Illinois Writers Review 7.2 (1998): 16-21.

Images. “Poetry.” The Modernist Journals Project. 2007. Brown University. 17 July 2009.

Massa, Ann. Form Follows Function: The Construction of Harriet Monroe and Poetry, A Magazine of Verse. Knoxville: University of Tennessee Press, 1995.

Monroe, Harriet. A Poet’s Life: Seventy Years in a Changing World. New York: MacMillan, 1938.

——–. Introduction. New Poetry. Eds.  Michael Hoffman & Patrick Murphy. New York: G.K. Hall, 1992.

Newcomb, John Timberman: “Others, Poetry, and Wallace Stevens: Little Magazines as Agents of Reputation,” Essays in Literature, 16.2 (Fall 1989): 256-270.

Parisi, Joseph, Stephen Young. Dear Editor: A History of Poetry in Letters: The First Fifty Years, 1912-1962. New York: Norton, 2002.

———. “An American Institution:” Poetry Founded in 1912 by Harriet Monroe. Chicago, Modern Poetry Association. 1980.

Poetry: A Magazine of Verse. 1912 – 1928. New York: AMS Reprints.

Sherbo, Arthur. “Harriet Monroe’s Chicago Letters” Diss. 1982.

William, Ellen. Harriet Monroe and the Poetry Renaissance: The First Ten Years of Poetry. Urbana, IL: University of Illinois Press, 1977.

“Poetry” compiled by Alice Neumann (Class of ’06) & Simone Muller (visiting student, Davidson College)

Title:
The Papyrus: A Magazine of Individuality
Absorbed Whim (Feb. 1905)
Superseded by The Phoenix

Date of Publication: 
July 1903 – May 1912
On hiatus Apr. – May 1904; Sept. 1906 – June 1907; Mar. – Oct. 1910

Place(s) of Publication: 
Mount Vernon, NY (July 1903 – Aug. 1904)
Somerville, NJ (Sept. 1904 – Feb. 1905)
Cranford, NJ (Mar. 1905 – Apr. 1906)
Elizabeth, NJ (May 1906 – Aug. 1906)
East Orange, NJ (July 1907 – Feb. 1910)
New York, NY (Nov. 1910 – May 1912)

Frequency of Publication: 
Monthly

Circulation:
Unknown

Publisher:
Alban Publishing Company (July 1903 – Feb. 1905)
Michael Monahan (Mar. 1905 – Feb. 1910)
Mitchell Kennerley (Nov. 1910 – May 1912)

Physical Description: 
5″ x 7,” typically 32 pages of fiction, nonfiction, and poetry. Occasional illustrations (mostly in first two volumes). Advertisements confined to beginning and end of each issue.

Price:
10 cents per issue / $1 per year / $10 for lifetime subscription

Editor(s): 
Michael Monahan

Associate Editor(s):
Unknown

Libraries with Original Issues:
The Huntington Library’s website reports having a complete run of the magazine and notes that “it is very unlikely that another complete set has been collected” (“The Papyrus”). Other libraries with mostly complete runs include Davidson College, Ohio State University, Pennsylvania State University, Princeton University, and Cornell University.
Scans of all issues are available online from HathiTrust.

Reprint Editions:
Unknown

The Papyrus was a little magazine published between 1903 and 1912 under the editorship of Michael Monahan. It catered to a distinctly intellectual audience with an interest in literature; its content included poetry, short fiction, literary criticism, and comments on current events.

The character of the magazine is inextricable from the personality of its editor, as Monahan had almost complete discretion in selecting the magazine’s content. The Papyrus often served directly as a voice for Monahan’s own opinions, and he would often supply more of his own content for an issue than any other single contributor. A sense of occasion and verbal poise attended Monahan’s writing. Take, for example, his comments on the global trend against monarchal rule:

“Some time ago I wrote that it was summer with the kings, but wondrous is the change wrought within a few short months.  Now instead of golden summer… there is winter black with dread, lurid with rebellion and sinister with every threat of treason and anarchy….  No heart of grace do the kings find in the thickness of the encompassing walls or the yet unbroken ranks of their soldiery.  For every wind is now the courier of some new treason or blow at their power…. It is marvelous how loyalty deserts a falling king! …

“It is winter with the kings, but summer with the peoples who have waited long enough for their turn.  Lustily are they girded up and made ready for the gleaning.  Boldly and unitedly they march upon the ripe and waiting fields which, so often sowed with their blood and sweat, they now claim for their own.  God grant they may bring the harvest home!” (January 1905, 1-3).

Besides being characterized by such soaring rhetoric, Papyrus proudly offered a haven for high-browed intellectuals, such as the friend of the editor who wrote:

“My Dear Michael: Your book reaches me so promptly after our happy meeting and verifies the old saying, Bis dat qui cito dat.  (And what a satisfaction it is to be able to quote Latin without fear of seeming like an alien and a pedant!  Oh, the vast desert of fatuous, facetious, and vulgar illiteracy, which seems to be so sadly inseparable from that democracy of which we expect so much!  But can democracy produce or even tolerate distinction?  Is it inevitable that we should speak only the jargon of Broadway?)” (January 1909, 6).

Monahan tenaciously saw The Papyrus through an entire run of nine years and eighty-one issues (continuing it afterward as the Phoenix). The Papyrus shares the fiercely independent spirit of so many of its contemporary little magazines. It holds a unique place within this group, however, owing to the decidedly mixed social values of its editor. Monahan championed ideals of liberty and the rights of the working class, and he eloquently decried the imprisonment of Oscar Wilde in Papyrus’ May 1905 issue (1-5). At the same time, however, Monahan was proudly a literary elitist who, judging by the content of his magazine, had no interest whatsoever in the stylistic innovation typically seen as characterizing modernism.  MacLeod’s description of his “old-school learned man-of-letters persona” is spot on (156). Furthermore, Monahan’s obituary described him as a crusader against feminism and noted that he complained specifically about female writers, despite being married to one (“Michael Monahan, Scholar”).

Issues of the magazine were printed entirely in black and white, except for the color red, which was used on the outside covers.  Three different cover designs were used during the magazine’s run: papyri and a scroll from July 1903 to October 1904; flowers from November 1904 to December 1905, and papyri in a fan shape from January 1906 to May 1912. The table of contents was always found on the inside front cover. There were approximately four pages of advertisements at the beginning and end of each issue; between these the content was entirely text with the rare exception of a picture or illustration (most of these appeared in the first two volumes). Witty or thought-provoking quotations from the editor sometimes followed the magazine’s larger pieces. Advertisements were usually for literary productions, including other magazines, books by Monahan or other authors, and bound volumes of Papyrus. The outside back cover held only a single quotation from Monahan, one of the magazine’s contributors, or an important literary figure.

The following manifesto appeared on the inside back cover of Papyrus from its first issue through volume 7, issue 1:

“The Papyrus has none of the Stock Features of the Other magazines, which make them All so fearfully Alike.

It does not propose to review the Futile Fiction of the hour.

It is for people who want to get away from the Eternal Trite–who are sick and tired of Canned Literature–who demand Thinking that is born of the Red Corpuscle.

It is also intended for persons who are Young enough to Understand and all others who do not easily get into a Panic for some one to Blow out the Light.

The Editor of The Papyrus is a Free Agent–which means that he is not controlled by Officious Friends, Advertising Patrons, or any other Influence subversive of the Chosen Policy of the Magazine.

Briefly, that policy is–

Fearless thinking and Honest writing.

Hatred of Sham and Fake under whatever forms they may appear.

The American ideal.

The true literary spirit.

And a sane Philosophy of Life helping us all to bear our burden.”

Michael Monahan (Apr. 6, 1865 – Nov. 32, 1933)
Editor: (1904 – 1914)

The Papyrus was the creation of Michael Monahan, who served as its only editor, and, for most of the magazine’s life, both owner and publisher (Publication shifted to Mitchell Kinnerley with the November 1910 issue). Monahan emigrated from Ireland to the United States when he was young. He received education from his father, whom The New York Times described as “a classical scholar.” Before beginning editorship of Papyrus Monahan worked for a newspaper in Albany, for the Democratic National Convention, and in the mayor of Albany’s office. In 1900 he went to Elbert Hubbard’s East New York colony, where he contributed to and assisted in editing The Philistine. By 1903 Monahan had tired of Hubbard (even, according to one rumor, kicking him down a flight of stairs) and moved to New York, where he founded The Papyrus in 1904 (Smith 25).

He began editorship of The Papyrus around the age of thirty eight (“Michael Monahan, Scholar”). Maintaining the magazine was, at times, a financially strenuous position; Monahan was the father of twelve but managed to support his family mainly with Papyrus’ sales (MacLeod 155-157). Monahan had a dramatic writing style, which he employed extensively in The Papyrus to decry what he saw as “the Futile Fiction of the hour” and “Sham and Fake under whatever forms they may appear” (see Papyrus’ manifesto).

Edwin Markham
“Semiramis” – July 1903

Ernest Crosby
“Tolstoy” – November 1908

Richard Le Gallienne
“At Elim are Twelve Wells” – April 1906

William Ernest Henley
“The Past was Goodly Once” – August 1904
“In Old Japan” – November 1907

Lafcadio Hearn
“A Daughter of Samurai” – November 1907

Percival Pollard
“In Memory of a Country Doctor” – September 1904

George Sylvester Viereck
“The Haunted House” – August 1907

“Editors of Individual Magazines.” Bruno’s Weekly 30 Sept. 1916: 1120-1122. Blue Mountain Project. Web. 18 Sept. 2015.

Goode, Stephen H., comp. Index to American Little Magazines, 1900-1910. Vol. 2. New York: Whitston, 1974. Print.

Hoffman, Frederick J., Charles Allen, and Carolyn F. Ulrich. The Little Magazine: A History and a Bibliography. New York: Princeton UP, 1947. Print.

Le Gallienne, Richard. Michael Monahan: An Appreciation. New York: Printery of the Phoenix, 1914. HathiTrust. Web. 11 Oct. 2015.

MacLeod, Kirsten J. The Other Magazine Revolution: American Little Magazines and Fin-de-Siecle Print Culture, 1894-1904. MA Thesis. University of Alberta, 2009. Web. 18 Sept. 2015.

“Michael Monahan, Scholar, Dies at Sixty Eight.” The New York Times 23 Nov. 1933: 21. ProQuest. Web. 11 Oct. 2015.

“Michael Monahan: The Survivor of a Disappearing Art.” Current Literature Mar. 1912: 347-349. ProQuest. Web. 10 Oct. 2015.

Papyrus. HathiTrust Digital Library. Web. 11 Oct. 2015.

“The Papyrus: A Magazine of Individuality.” Huntington Library Catalog. The Huntington, n.d. Web. 12 Oct. 2015.

Smith, Herbert F. “Michael Monahan and His Little Known Little Magazine.” The Journal of the Rutgers University Libraries 24.1 (1960): 24-28. Rutgers. Web. 18 Sept. 2015.

“The Papyrus” compiled by Wade Morgan (Class of ’16, Davidson College)