1914 — 1915
Blast is the quintessential modernist little magazine. Founded by Wyndham Lewis with the assistance of Ezra Pound, it was the organ for the Vorticist movement in London, running for just two issues in 1914 and 1915. The First World War killed it—along with some of its key contributors.
1903 — 1917
Edited and published by Alfred Stieglitz, Camera Work championed photography as an art, showcasing the work of Photo-Secession photographers.
1915
Ezra Pound edited the Catholic Anthology in 1915 as an answer to the first Some Imagist Poets anthology.
1921
The May 1921 issue of Chapbook featured a section parodying Imagist anthologies, called “Pathology des Dommagistes.” The Imagist Anthology Collection also includes Des Imagistes (1914), ed. Ezra Pound, incl. versions in The Glebe and subsequent books; Some Imagist Poets (1915), ed. H. D. and Richard Aldington; The 1916 and 1917 successors, ed. by Amy Lowell; and Catholic Anthology (1915), ed. Ezra Pound in answer to the 1915 Some Imagist Poets .
1919 — 1920
Founded in 1919 by Oxford University law student Chaman Lall, this quarterly review emphasized avant-garde poetry until its conclusion with a double issue in 1921.
1910 — 1922
Founded in 1910 as the house magazine of the NAACP and edited by W. E. B. Du Bois, The Crisis quickly became the most important voice of the African-American struggle for cultural identity and civic justice in the U.S.
1914
The four Imagist anthologies, published annually between 1914 and 1917, promoted Imagism as an avant-garde movement and helped turn it into an important force in modern poetry. The Imagist Anthology Collection includes Des Imagistes (1914), ed. Ezra Pound, incl. in The Glebe and subsequent books; Some Imagist Poets (1915), ed. H. D. and Richard Aldington; The 1916 and 1917 successors, ed. Amy Lowell; Catholic Anthology (1915), ed. Ezra Pound in an answer to the first Some Imagist Poets anthology; and the May 1921 issue of Chapbook, with a section parodying Imagist anthologies, called “Pathology des Dommagistes.”
1914 — 1919
The Egoist was a direct continuation of The New Freewoman (itself a continuation of The Freewoman) and continued the policies of its predecessor, with Dora Marsden ultimately shifting to “Contributing Editor” and Harriet Weaver becoming editor. It made a large contribution to modernist literature while continuing to discuss social and philosophical questions and issues.
1914
The four Imagist anthologies, published annually between 1914 and 1917, promoted Imagism as an avant-garde movement and helped turn it into an important force in modern poetry. The Imagist Anthology Collection includes Des Imagistes (1914), ed. Ezra Pound, incl. in The Glebe and subsequent books; Some Imagist Poets (1915), ed. H. D. and Richard Aldington; The 1916 and 1917 successors, ed. Amy Lowell; Catholic Anthology (1915), ed. Ezra Pound in an answer to the first Some Imagist Poets anthology; and the May 1921 issue of Chapbook, with a section parodying Imagist anthologies, called “Pathology des Dommagistes.”
1914 — 1922
Its modest title notwithstanding, The Little Review probably did more to promote modernism than any other American journal, representing in its pages dozens of international art movements and the leading avant-garde figures of the day. It’s also where most of Joyce’s Ulysses first appeared in print.
1911 — 1917
With its distinctive mix of art and politics, The Masses remains one of the most important and influential American little magazines.
1907 — 1928
Edited by A. R. Orage, this weekly review presented crucial debates over the kind of art, literature, and politics best suited for modernity.
1915 — 1919
Edited by Alfred Kreymborg, this short-lived little magazine played a major role in modernizing American poetry, with an emphasis on free verse.
1919
Edited by Robert Graves sporadically, this little magazine published a lot of good poetry by Georgian poets and younger writers. The third issue, of November 1923, appears as The Winter Owl.
1912 — 1922
Founded and edited by Harriet Monroe in Chicago in 1912 and still running today, this magazine played a major role in creating an audience for modernist poetry.