1914 — 1915
Edited by Wyndham Lewis, and running for just two issues, Blast was the quintessential modernist little magazine, the voice of the Vorticists.
Edited by John Middleton Murry and Katherine Mansfield, and running for just three issues, this was a successor to Rhythm.
1919 — 1921
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.
1904 — 1905
Edited by "John Eglinton," Dana was a forum for Irish cultural and literary debates in a time "when everything seemed possible."
1897 — 1898
Founded and edited by Ernest J. Oldmeadow, the first series of this magazine ran quarterly for five issues from March 1897 to May 1898. Each issue had sections on architecture, literature, drawing-painting-engraving, and music, with excellent illustrations of visual materials.
1914 — 1919
The Egoist was a direct continuation of The New 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.
1908 — 1910
Founded by Ford Madox Hueffer in 1908 and edited by him for fifteen issues, this influential magazine published works by established authors and new ones like D. H. Lawrence, Wyndham Lewis, and Ezra Pound.
1911 — 1912
The Freewoman was established by Dora Marsden as "A Weekly Feminist Review" that would move beyond the vote to address such controversial issues as the economics and morality of sex.
1914 — 1917
The four Imagist anthologies, published annually between 1914 and 1917, helped turn Imagism into an important force in modern poetry.
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.
1900 — 1906
At the start of the 20th century, McClure’s pioneered "muckraking" journalism and became for a while the most influential magazine in America.
1907 — 1922
Edited by A. R. Orage, this weekly review presented crucial debates over the kind of art, literature, and politics best suited for modernity.
The second of three magazines edited by Dora Marsden, this one emphasized egoism and was more literary than its predecessor.
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 — 1923
Edited by Robert Graves sporadically, this little magazine published a lot of good poetry by Georgian poets and younger writers.
This is an example of the ephemeral bibelots catalogued by F. W. Faxon in 1903, offering hints of Dada and Surrealism before these modes of modernism actually developed. Each copy of the magazine is unique, so we're providing three different versions of it.
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.
1911 — 1913
Edited by J. M. Murry, this little magazine stressed rhythm as the key to modernism and was especially strong in visual art.
1910 — 1922
Published by Charles Scribner's Sons, this magazine ran from 1887 to 1939, offering a wide range of authors and texts from the popular to the highbrow, as well as an abundance of illustrations, art reprints, photographs, and advertising.
1916 — 1917
Though it lasted only a year, The Seven Arts had an oversized impact on American culture. Its mission was to promote an American renaissance, whereby the arts in the country would finally come of age by taking American life as their subject matter and the American people as their intended audience.
1913 — 1915
Jointly edited by H. L. Mencken and George Jean Nathan, The Smart Set in its heyday was a vehicle for popular modernism, bringing high-quality literature and cultural satire to a broad American audience.
1921 — 1922
Edited by Wyndham Lewis for two issues, this was a successor to Blast — still interesting but a bit tamer.
1916 — 1921
Published annually, with six issues appearing in the years from 1916 to 1921, this anthology of modernist poetry was dominated by the Sitwell siblings.
1910 — 1912
Single issues of 24 magazines that were published "on or about December 1910," when, according to Virginia Woolf, "human character changed" and modernity became palpable.