Title:
The Liberator

Date of Publication:
Mar. 1918 – Oct. 1924

Place of Publication:
New York, NY
Chicago, IL (beginning in October 1923)

Frequency of Publication:
Monthly

Circulation:
about 10,000 subscribers

Publisher:
Liberator Publishing Co.

Physical Description:
About 8.5 inches by 10.75 inches. Cover design changes with each issue, featuring modern artwork in color. Black and white politically-themed illustrations found within the pages. Ranges from 35-55 pages of mostly social, political, and literary articles. Priced at 15-25 cents per issue.

Price:
15 cents (later raised to 20 cents)

Editor(s):
Max Eastman (predominantly) with Floyd Dell and later Robert Minor editing within the last few years of publication (after 1922).

Associate Editor(s): 
Eastman, Dell, and Minor all contributed many works to the journal while also editing other content (see “Contributors”)

Libraries with Original Issues: 
Davidson College, Harvard University, New York University, Cornell University, Brown University, California State University in Los Angeles, University of Chicago, Syracuse University, University of Washington

Reprint Editions:
Davidson College, Princeton University, Harvard University, New York University, Columbia University, Brown University, Pittsburg State University, Wayne State University, Washington University in St. Louis, Colgate University

After the Espionage Act of 1917 ended publication of The Masses, Max and Crystal Eastman started The Liberator to further the political discourse of The Masses. Building upon the concepts of freedom and liberty outlined in William Lloyd Garrison’s abolitionist newspaper (“The Liberator”), the Eastmans intentionally published their first issue on February 12, 1918, the birthday of President Abraham Lincoln.

In the first issue Max Eastman spells out the journal’s principles and intentions. He declares: “The world is in the rapids. The possibilities of change in this day are beyond all imagination. We must unite our hands and voices to make the end of this war the beginning of an age of freedom and happiness for mankind undreamed by those whose minds comprehend only political and military events.”

The journal provided first rate news coverage of the civil war in Soviet Russia.  Because The Liberator was the only source of news about the war, many European and American radicals looked to the magazine for information. In the first few volumes, war correspondent and Communist party founder John Reed provides an ongoing report of conditions in Soviet Russia. Most of the articles are political, promoting Socialism, workers rights, racial and gender equality, birth control, and progressive politics. Almost every issue begins with an editorial page in which Max Eastman provides commentary on where the journal stands in relation to current political and social events.

The magazine included art, poetry, one-act plays, and fiction pieces, but almost always ones with political themes. Artwork, mainly in the form of political cartoons or illustrations, augments certain articles but is rarely the main theme of the literature. Advertisements are found sparingly at the end of the issue and usually publicize books, other magazines, or other Socialist education materials. Before the advertisements at the end, each issue devotes several pages to long reviews of books that can be ordered from “The Liberator Book Shelf,” a book store run by the magazine.

The Liberator sought to educate and inform its readers about the events of World War I and the social and political changes occurring in America and abroad as a result of the war. Promoting progressive ideas about civil and economic liberty, the journal encouraged ways of rethinking democracy. Though it focused heavily on political and social issues, The Liberator also provided a forum for experimental freedom in art, poetry, fiction, and criticism.

Published monthly for 15 cents per issue (later increased to 20 cents), the journal ran steadily from March 1918 to October 1924 until the Worker’s Party of America ceased it. The magazine merged with two other periodicals to form The Worker’s Monthly in 1924.

In the first issue of The Liberator, Max Eastman writes:

“NEVER was the moment more auspicious to issue a great magazine of liberty. With the Russian people in the lead, the world is entering upon the experiment of industrial and real democracy. Inspired by Russia, the German people are muttering a revolt that will go farther than its dearest advocates among the Allies dream. The working people of France, of Italy, of England, too, are determined that the end of autocracy in Germany shall be the end of wage-slavery at home. America has extended her hand to the Russians. She will follow in their path. The world is in the rapids. The possibilities of change in this day are beyond all imagination. We must unite our hands and voices to make the end of this war the beginning of an age of freedom and happiness for mankind undreamed by those whose minds comprehend only political and military events. With this ideal THE LIBERATOR comes into being on Lincoln’s Birthday, February 12, 1918.

THE LIBERATOR will be owned and published by its editors, who will be free in its pages to say what they truly think.

It will fight in the struggle of labor. It will fight for the ownership and control of industry by the workers, and will present vivid and accurate news of the labor and socialist movements in all parts of the world.

It will advocate the opening of the land to the people, and urge the immediate taking over by the people of railroads, mines, telegraph and telephone systems, and all public utilities.

It will stand for the complete independence of women-political, social and economic-as an enrichment of the existence of mankind.

It will stand for a revolution in the whole spirit and method of dealing with crime.

It will join all wise men in trying to substitute for our rigid scholastic kind of education a system which has a vivid relation to life.

It will assert the social and political equality of the black and white races, oppose every kind of racial discrimination, and conduct a remorse-less publicity campaign against lynch law.

It will oppose laws preventing the spread of scientific knowledge about birth control.

THE LIBERATOR will endorse the war aims outlined by the Russian people and ex-pounded by President Wilson a peace with-out forcible annexations, without punitive indemnities, with free development and self-determination for all peoples. Especially it will support the President in his demand for an international union, based upon free seas, free commerce and general disarmament, as the central principle upon which hang all hopes of permanent peace and friendship among nations.

THE LIBERATOR will be distinguished by a complete freedom in art and poetry and fiction and criticism. It will be candid. It will be experimental. It will be hospitable to new thoughts and feelings. It will direct its attack against dogma and rigidity of mind upon what-ever side they are found,” THE EDITOR.

Max Eastman (Jan. 4, 1883 – Mar. 24, 1969)
Editor: Mar. 1918 – Aug. 1922

Max Eastman, former editor of The Masses, was The Liberator‘s founding and primary editor for the first five years of the magazine’s publication. Leading a prolific career of intellectual and political activism, Eastman published over twenty books on subjects ranging from Socialism and Soviet culture to Philosophy and Religion. One of America’s most prominent spokesmen for the Bolshevik Revolution, Eastman promoted Marxism and Socialism for most of his life. Eastman’s writings dominate the first few volumes of The Liberator; he authored the editorial page and many of the journal’s political and literary articles and advertises his other literary works. In 1922 Eastman left the magazine to go to Soviet Russia “to find out whether what [he has] been saying is true” (qtd. in Diggins 23). After his trip to Soviet Russia, Eastman’s politics began to change and he later opposed socialism. Though he gave up his executive editorial position to pursue book writing, Eastman remained on the editorial staff of The Liberator until its end.

Floyd Dell (June 28, 1887 – July 23, 1969)
Editor: 1918-1924, Executive Editor in 1922

Floyd Dell, founding associate editor of The Liberator, became an executive editor for a brief time after Eastman dropped down. As a teenager Dell joined the Socialist Party and began writing for Tri-City Workers’ Magazine, a Socialist monthly. Dell reported for the Davenport Times, wrote for the Chicago Evening Post, and edited the Post’s Friday Literary Review. In 1914 Dell moved to New York City and worked with Eastman to found The Masses. Dell played an integral role in establishing The Liberator by reading manuscripts, proofing articles, planning political cartoons, and recruiting more writers. Under Dell’s brief leadership in 1922, The Liberator favored art and culture instead of politics, publishing poems by Claude McKay and fiction by Michael Gold.

Robert Minor (Jul. 15, 1884 – 1952)
Editor: 1922 – 1924

Born in San Antonio, Texas, Minor became the highest paid cartoonist in the United States when he began working for New York World in 1911. Minor illustrated for the St. Louis Post-Dispatch (1904), the New York Call (1915), The Masses (1915) and The Liberator (1918). Drawn in crayon or ink, Minor’s cartoons undermined the effort of World War I and were often controversial. The United States government partly blamed Minor’s provocative cartoons within The Masses as reason for the magazine’s violation of the Espionage Act of 1917, which ended its publication. As a former Socialist, Minor joined the underground American Communist Party in 1920 after his visit to Soviet Russia. In 1923 Minor was elected to the Executive Committee of the Worker’s Party of America. When The Liberator’s finances ran dry in 1924, the Worker’s Party of America took over the magazine, turning it into The Workers Monthly. Under Minor’s editorial control The Liberator continued in similar format, but featured articles by prominent Communist leaders such as C.E. Ruthenberg and Max Bedacht.

Max Eastman

Editorials

“Lenin: a Statesman of the New Order”

“The Trial of Eugene Debs”

“Examples of Americanism”

Crystal Eastman

“Practical Feminism”

“British Labor is Moving”

Art Giovannitti

“New York and I”

“Selecting a Perfect Jury”

John Reed

“Red Russia” (series)

“Foreign Affairs”

Robert Minor

“The Peril of Tom Mooney”

Floyd Dell

“The Story of the Trial”

“Were You Ever a Child?: a study on Education”

Alexander Trachtenberg

“International labor and Socialist News” (series of news write-ups)

Irregular Contributors:

Claude McKay

“Negro Poems”

“How Black Sees Green and Red”

“A Negro Extravaganza”

James Weldon Johnson

“What the Negro is Doing for Himself”

Carl Sandburg

“Out of White Lips”

Upton Sinclair

“The ‘Jesus-Thinkers’”

“We Got Arrested a Little”

Eugene V. Debs

“A Message From Debs”

“Russia’s Embattled Liberators”

John Dos Passos

“In Portugal”

“Farmer Strikers in Spain”

“The Caucasus Under the Soviets”

Regular Contributing Illustrators:

Art Young, Cornelia Barns, Boardman Robinson, Hugo Gellert, Robert Minor

Baggins, Brian, Tim Davenport, and David Walters. “The Liberator Workers Monthly.” Marxists Internet Archive. USA History Archive, 2009. Web. 04 Sept. 2010.

Diggins, John P. Up from Communism: Conservative Odyssesys in American Intellectual Development. Oxford: Oxford UP, 1994.

Goodman, Martin H., ed. “The Liberator 1918 – 1924 Covers.” Marxists.org. 2014. Web. 13 Jun 2016.

Liberator. Ed. Max Eastman. 1951.  Microfilm. Vols 1-7.  New York: New York Public Library.

“Minor, Robert (1884 – 1952).” The Crystal Reference Encyclopedia. West Chiltington: Crystal Semantics, 2005. Credo Reference. Web. 07 October 2010.

Simkin, John. “Floyd Dell : Biography.” Spartacus Educational – Home Page. 02 Oct. 2010. Web. 04 Oct. 2010.

Watts, Theodore F. The Liberator Index: 1918 – 1924. Periodyssey Press: Easthampton, MA, 2011. Marxists.org. Web. 13 Jun 2016.

“The Liberator” compiled by Lisle Gwynn (Class of ’11, Davidson College)

Title:
Le Petit Journal des Refusées 

The cover of Le Petit Journal des Refusées advertises that it will be published quarterly, but the magazine appeared only once. That issue came out in the summer of 1896 in San Francisco, California, a city that was not “attracting the same attention as that of other cosmopolitan centers,” but had a lively Bohemian scene (“Bohemian by Design” np). Le Petit Journal was the creation of Gelett Burgess. The other contributors, if there were any, are unknown.

In the first and only issue of Le Petit Journal des Refusées, the “redacteur-en-chef,” James Marrion, 2nd (the pseudonym of Gelett Burgess), writes about the motivation for starting this journal:

Gelett Burgess (Jan. 30, 1866- Sept. 18, 1951)
Editor: 1896

James Marrion, 2nd
Editor, “Ghost of a Flea”

Drucker, Johanna. Bohemian by Design: Gelett Burgess and Le Petit Journal des Refusees. Connexions. 1 June 2009.

Title: 
Laughing Horse 

Date of Publication: 
10 April 1922 (no. 1) – Winter 1939 (no. 21)

Place(s) of Publication: 
Berkeley, California (1922 – 1923)
Guadalajara, Mexico (1923)
Santa Fe and Taos, New Mexico (1923 – 1939)

Frequency of Publication: 
Irregular

Circulation:
Unknown

Publisher: 
Copyrighted and owned by James Van Rensselaer, Roy Chanslor, and Willard Johnson

Physical Description:
7 1/2″ x 10 1/2″; printed on “genuine wrapping paper” (Udall 99). Approx. 20-40 pages. Initial issues very college-oriented, with the essays and editorials heavily satirizing Berkeley. Santa Fe issues featured scholarly reviews, poetry, essays, drawings, all with a Southwest flair. D. H. Lawrence issue No. 13, April 1926.

Price: 
Single issue: $0.25
Subscription: $2.50

Editor(s): 
Walter Willard “Spud” Johnson, under the pseudonyms Jane Cavendish, Bill Murphy (1922-1939)
Roy Chanslor, under the pseudonym Noel Jason (1922-23)
James Van Rensselaer, under the pseudonym L 13 (1922-23)

Associate Editor(s):
None

Libraries with Original Issues: 
University of California, Los Angeles; New Mexico State University; University of Texas, Austin, Harry Ransom Center

Reprinted Editions
New York: Kraus Reprint Corp., 1967.

In 1922 a University of California at Berkeley dropout, Walter Willard “Spud” Johnson, together with James Van Rensselaer Jr. and Ray Chanslor, began publishing Laughing Horse to satirize the college. Johnson saved fifty dollars as a reporter for the Richmond Independent to finance the first issue of Laughing Horse, and its twenty-five cents cover price covered the cost of a second issue the following month (Udall 8). The scathing first issue was a hit on campus, and the administration could do little to silence the publication as the three editors operated anonymously, using the pseudonyms Jane Cavendish, Noel Jason, Bill Murphy, and L13 until the fourth issue.

Johnson had followed his mentor and lover, ex-professor Witter Bynner, to Santa Fe before the publication of the first issue, and he edited the magazine long-distance. In Santa Fe, Johnson met and recruited D. H. Lawrence to write an article for the magazine; the famous author obliged, and the magazine’s fourth issue printed his vitriolic book review of Ben Hecht’s novel Fantazius Mallare. The review contained many obscene words, but the editors decided to publish Lawrence’s writing anyway “in the spirit of the magazine,” replacing the obscenities with dashes. The blank spaces, however, did little to improve the satirical magazine’s standing with the Berkeley administration. (Udall 118). The fourth issue also contained excerpts from Upton Sinclair’s new book, The Goose-Step: A Study of American Education. In the novel’s condemnation of education, Sinclair referred to Cal Berkeley specifically, claiming it was a stagnant, corrupt institution. Even though the outrage was more directly caused by Sinclair’s writing, the administration found the “obscenity” of Lawrence’s letter an easier tool to oust the publication, and they charged the magazine with printing obscene matter (Udall 119). As Chanslor was the only editor still enrolled at Berkeley, a warrant for his arrest was issued; the judge dropped the case immediately. The censorship battle helped Laughing Horse more than the outraged administration. The publicity generated by the university’s response brought the magazine national fame and the attention of literary and social radicals from abroad (33).

In December of 1923 Johnson permanently moved Laughing Horse to Santa Fe. Under Johnson’s sole editorship the magazine continued to debate political issues both locally and nationally, although it did not continue to prioritize the “destructive” satire its manifesto had described. Instead, it adopted a regional aesthetic and in 1925 Johnson changed the subtitle to “A magazine of the Southwest” (Udall 155). The magazine enjoyed the contributions of several famous modernists who had visited or lived in Taos and Santa Fe, including Lawrence, Mabel Dodge Luhan, and Mary Austin, and Laughing Horse became the first magazine to publish a D.H. Lawrence Number. Publication of the magazine continued regularly until 193, and ceased with one final issue in 1939 (Roberts).

With their inaugural issue, the editors of Laughing Horse published an introduction which accurately captured the magazine’s sardonic tone and casual attitude:

“Herewith is presented “The Laughing Horse” a magazine of polemics, phillippics [sic], satire, burlesque and all around destructive criticism, edited, written and financed by four more or less like-minded young persons, who find education as it is perpetrated in America, and especially at California, a somewhat gaudy farce with lachrymose overtones but withal a spectacle par excellence. “We propose to take nothing too seriously, to hold nothing sacred, to subject anything or everything which seems to affect too pontifical an air, too solemn an attitude, to ribald ridicule. Our aim is frankly destructive, regardless of the attitude of the English Club on that kind of criticism. We are not reformers; we are not architects. We are the wrecking gang, hurlers of brickbats, shooters of barbs, tossers of custard pie. We are not bitter; we are not ill-natured; we are not soreheads. We are simply tired of the incessant bleating of professorial poloniuses and their spineless imitators, the blather of campus politicians, the palpable tosh of [the Daily] Cal. and Pelly [Pelican] and Occident editorials, the silly chatter of our half-baked Hobsons, Bryans and Orison Swett Mardens. We seek not simply to shock by our derisive irreverence of sacred things which are largely ridiculous in their very nature, but merely to come out with a merry horse-laugh.”

“Apologia.” No. 1 (Nov. 1922): 2.

Walter Willard “Spud” Johnson (1897 – 1968)
Editor: Apr 1922 – Winter 1929

When Spud Johnson transferred to the University of California in 1920 he immediately connected with poet and ex-professor Witter Bynner, who would shape the young man’s career. Bynner was Johnson’s mentor and teacher, introduced him to the Bohemian club and the West Coast literati, and was also his lover (Udall 7). In 1922 Johnson self-financed his own little magazine, Laughing Horse, which he moved to Santa Fe in 1923, where he had been living and associating with Mabel Dodge Luhan and D. H. Lawrence. Johnson was a major part of the growing New Mexico literary scene, which included Mary Austin, Carl Sandburg, and Dorothy Brett (Udall 11). He published a book of poetry in 1926, contributed to several magazines, and in 1935 published Horizontal Yellow, a collection of poetry. In 1939 he published the final issue of Laughing Horse. Johnson painted, drew, traveled, and actively participated in local causes until his death in 1968.

Mary Austin
“The Land of Journey’s Ending”
“One Smoke Stories”

Dorothy Brett
Lawrence and Susan

Witter Bynner
“The City of the Holy Faith at Saint Francis”

Howell Cowell
“Pure Pussy”

Arthur Davison Ficke
“The Problem of Censorship”

R. Vernon Hunter
Colts
Turquoise Horse

D. H. Lawrence
“Book Review of Ben Hecht’s Fantazius Mallare”
“Au Revoir, U.S.A”
“Dear Old Horse”
“Just Back from the Snake-Dance – Tired Out”
“Europe Versus America”
“Beyond the Rockies”

Mabel Dodge Luhan
“The Door of the Spirit”
“The Ballad of a Bad Girl”

Norman Maclean
“Wind Laughter”

Willard Nash
“The Penitenties”

Carl Sandburg
“Censorship”

John Shaw
“Burros”

Upton Sinclair
Excerpts from The Goose Step
“Letter to Berkeley administration”

Edna Lou Walton
“Gods of the Navajo”

Barclay, Donald A. “‘The Laughing Horse’: A Literary Magazine of the American West. Western American Literature. 27.1 (Spring 1992): 47-55. Web. 9 Jun 2016.

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

Laughing Horse. 1921-1939. Little Magazines, American 1930 – 1933. Microform. Ann Arbor, MI: UMI, 2004.

Roberts, William M. “Laughing Horse: A Horse Laugh at the University.” Chronicle of the University of California. 2002. University of California at Berkeley. 8 May 2007. 13 – 18.

“Spud Johnson Biographical Sketch.”  Spud Johnson Collection. 2000.  Harry Ransom Humanities Resource Center at the University of Texas at Austin. 8 May 2007.

Udall, Sharyn. Spud Johnson and Laughing Horse. Albuquerque: University of New Mexico Press, 1994.

“Laughing Horse” compiled by Drew Brookie (Class of ’07, Davidson College)

Title: 
The Hound and Horn: A Harvard Miscellany (1927 – 1929)
The Hound and Horn (1929 – 1934)

Date of Publication: 
Sept. 1927 (1:1) – July/Sept. 1934 (7:4)

Place(s) of Publication: 
Portland, Maine
Concord, New Hampshire
Camden, New Jersey

Frequency of Publication: 
Quarterly

Circulation: 
2500 to 3000, average

Publisher: 
The Hound and Horn, Incorporated

Physical Description: 
10″ x 6″. Approx. 150 pages. Featured poetry, fiction, reproductions of visual arts, and criticism of theater, film, music, dance, and architecture.

Price:
Unknown

Editor(s): 
Lincoln Kirstein
Bernard Bandler II
Varian Fry
A. Hyatt Mayor

Associate Editor(s): 
Yvor Winters, Allen Tate, R.P. Blackmur

Select Libraries with Original Issues: 
Harvard University Library; Duke University Library

Reprint Edition: 
New York: Kraus Reprint Corporation, 1966.

Born from the mind and the bank account of Lincoln Kirstein, The Hound and Horn ran from 1927 until 1934. Although the undergraduates who started the magazine eventually dropped the subtitle – A Harvard Miscellany – the magazine showed its Harvard roots by featuring many alumi in its pages of criticism, poetry, and art. Editors Allen Tate, Yvor Winters, and R. P. Blackmur combined this 1929 title alteration with a shift in critical style, making The Hound and Horn an early home to the school of New Criticism.

Although The Horn and Hound focused primarily on these critical reviews, editors typically reserved a quarter of each issue for poetry and fiction (Hoffman 208). Though they did not “discover” any poets as other magazines did, they perpetuated the careers of authors like T. S. Eliot, Henry James, e. e. cummings, Conrad Aiken, Wallace Stevens, William Carlos Williams, and Henry Adams, while offering critical essays from modernist favorites like Marianne Moore (Hoffman 208-9). Their poetic picks leaned toward the experimental and revolutionary. Despite brief flirtations with Marxism, Humanism, and Agrarianism, Kirstein did his best to keep the magazine focused on art rather than on politics. Along with modernist poetry and prose were reproductions of visual art and criticism that touched upon many artistic fields, including theater, music, film, dance, and architecture (Chielens 144).

Kirstein’s true love turned out to be ballet rather than literature, and in 1934 he moved his interests (and with it, his money) to the founding of what would eventually become the New York City Ballet. Having become the sole editor in the final years of The Hound and Horn, this move marked the demise of the magazine (Chielens 142). Although Kirstein would go on to be remembered for his contributions to both the schools and literature of ballet, The Hound and Horn helped perpetuate literary careers, enhanced the school of New Criticism, and helped to inspire future magazines like The Southern Review and Kenyon Review (Hoffman 210).

When Lincoln Kirstein founded The Hound and Horn, he wanted it to strongly reflect its Harvard background:

“Its pages will be open to creative work in any field and on any subject, provided that work is of a sufficiently non-technical nature to assure a general Harvard interest. Of the miscellaneous nature of the proposed magazine the present issue can be but an indication: in addition to prose and verse, critical studies of art and architecture, reviews of current books and periodicals, and reproductions of painting and sculpture, future numbers will contain articles on music, history, philosophy, science, and sport. The Hound and Horn will supply a fresh medium for creative expression to all members of the University who desire it… It is the intention of The Hound and Horn to provide, in a measure, a point of contact between Harvard and the contemporary outside world, both here and abroad. It will endeavor to represent Harvard’s potential best, and it calls upon sympathetic subscribers, contributors, and critics to help reach such a goal.”

“Introduction.” The Hound and Horn 1:1 (1927): 5-6.

When the magazine shifted from being an undergraduate publication, it saw itself assuming a much broader role than at its conception:

“Started seven years ago by undergraduates of Harvard University as a college paper based on the London Criterion, it has come to take the place of the Dial in some respects, and in others has provided an American medium not unlike the Nouvelle Revue FranVaise. It has attempted to provide a repository for distinguished critics and creative writing which, on account of its technical or experimental nature, could not otherwise have been paid for or published, and to acquaint Americans with similar international work”

“Preface.” The Hound and Horn. 3:4 (1934): 563.

Lincoln Kirstein (May 14, 1907 – Jan. 5, 1966)
Editor: Sept. 1927 – Sept. 1934

While a sophomore at Harvard, Kirstein founded The Hound and Horn using “liberal funding” from his father that assured “both financial stability and high production standards” for his magazine (Chielens 141). He shared editorship with freshman Varian Fry when the magazine first began publishing, with eventual help from Alan Tate, Yvor Winters, Bernard Bandler II, and R.P. Blackmur. By 1931, however, he was the sole owner and head editor. During his tenure he helped transition The Hound and Horn from a “Harvard Miscellany” to a leader in New Criticism. He worked to keep the magazine away from politics: though various editors leaned towards Agrarianism, Humanism, and Marxism, he tried to keep their political influences from overtaking the pages. His choice to switch his focus from literature to the ballet in 1934 marked the demise of his little magazine, but also the beginning of a brilliant career directing ballet and founding what would go on to become the New York City Ballet, for which he is now famous (“Kirstein, Lincoln”).

R. P. Blackmur
“Night Piece”

John Cheever
“Bock Beer and Bermuda Onions”

e. e. cummings
“[so standing, our eyes filled with wind and the]”
“[somewhere i have never traveled, gladly beyond]”

John Dos Passos
Excerpts from 1919

T. S. Eliot
“Second Thoughts about Humanism”
“Difficulties of a Statesman”

James Joyce
“From a Banned Writer to a Banned Singer”

Marianne Moore
“The Jerboa”
“The Plumet Backet”

Pablo Picasso
Maternity
The Lovers
Still Life

Ezra Pound
Cantos: 
“XXVIII”
“XXIX”
“XXX”

Gertrude Stein
“Scenery and George Washington”

Wallace Stevens
“Academic Discourse in Havana”
“Autumn Refrain”

Vincent Van Gogh
Charcoal Drawing

William Carlos Williams
“Rain”
“In the ‘Sconset Bus”

Yvor Winters
“Hymn to Dispel Hatred at Midnight”
“The Fall of Leaves”

Chielens, Edward E., ed. American Literary Magazines: The Twentieth Century. New York: Greenwood Press, 1992.

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

The Hound and Horn. 1927 – 1934. New York: Kraus Reprint Corporation, 1966

Image, rollover. “New Arrivals.” Stephen Rose Fine Arts and Books. January 2003. 28 Oct. 2008.

“Kirstein, Lincoln.” Encyclopedia Britannica. 2008. Encyclopedia Britannica Online. Davidson College Lib., Davidson, NC. 16 Sept. 2008.

“The Hound & Horn” compiled by Kelly Franklin (Class of ’09, Davidson College)