Index of Modernist Magazines

The Tyro

Facts

Title:
The Tyro: A Review of the Arts of Painting, Sculpture and Design

Date of Publication:
Apr. 1921; 1922

Place of Publication:
London, England.

Frequency of Publication:
Twice

Circulation:
Unknown

Publisher:
The Egoist Press (backed by Sidney Schiff)

Physical Description:
Issue I: 37.5 cm (high) by 25 cm, 12 pages. Issue II, “compact quarto” nearly 100 pages.

Price:
1 shilling, 6 pence per issue / 6 shillings, 6 pence per four-issue subscription

Editor(s):
Wyndham Lewis

Associate Editor(s):
Unknown

Libraries with Complete Originals:
Univ. of California Santa Barbara; Univ. of Colorado Boulder; Univ. of Massachusetts Amherst; Univ. of Minnesota, Morris Library; Princeton Univ.; Univ. of Tulsa; Univ. of Houston.

Reprint Editions:
Searchable PDFs available online at the Modernist Journals Project

Description

The Tyro: A Review of the Arts of Painting, Sculpture and Design, marks Wyndham Lewis’s second, and more aggressive (though less well-known) attempt to provide “a rallying spot” for experimental painters in England for whom painting required “an intelligent applications as any science.” The magazine was published twice and bridged writing by the likes of T.S. Eliot with avant-garde illustrations. The first issue appeared in 1921 and covered 12 pages. The second issue was published a year later and expanded to over 100 pages with even more illustrations by avant-garde European artists.

Manifesto

In the first issue of The Tyro Wyndham Lewis makes clear the purpose of his newest magazine:

THE OBJECTS OF THIS PAPER,—To be a rallying spot for those painters, or persons interested in painting, in this country, for whom ” painting ” signifies not a lucrative or sentimental calling, but a constant and perpetually renewed effort: requiring as exacting and intelligent application as any science, with as great an aim. The only papers at present existing purely for painters are, in a more or less veiled way (usually veiled in a little splashing of bright colour and little more), tributaries of the official painting of Burlington House. There is actually at the moment no paper in this country wholly devoted to the interests of the great European movement in painting and design, the most significant art phenomenon in Europe to-day.

The number of painters experimenting in England in the European sense are very few. The reason for that, and the remedy for what appears to us that backwardness, will be ” explored,” as the newspapers say. Again, this paper will especially address itself to those living in England who do not consider that the letter of any fashion (whether coming to us with the intelligent prestige of France, or the flamboyance of modern Italy) should be subscribed to by English or American painters. A painter living in a milieu like Paris has a great advantage, it is obvious, over one working (especially in his commencements) in England. But it would be absurd not to see that the very authority and prestige of the Gallic milieu, that so flutters and transports our friend Mr. Bell, for example, also imposes its faults on those working in Paris, in the very middle of the charm. The Tyro will keep at a distance on the one hand this subjection to the accidental of the great European centre of art, and on the other hand the aesthetic chauvinism that distorts, and threatens constantly with retrogression, so much of the otherwise most promising painting in England to-day.

A paper run entirely by painters and writers, the appearance of the “Tyro” will be spasmodic: that is, it will come out when sufficient material has accumulated to make up a new number; or when something of urgent interest hastens it into renewed and pointed utterance.

One further point. The Editor of this paper is a painter. In addition to that you will see him starting a serial story in this number. During the Renaissance in Italy this duplication of activities was common enough, and no one was surprised to see a man chiselling words and stone alternately. If, as many are believing, we are at present on the threshold of a Renaissance of Art as much greater than the Italian Renaissance as the Great War of 1914-18 was physically bigger than preceding ones (substitute however intensity and significance for scale), then this spectacle may become so common that the aloofness of the Editor of this paper from musical composition would, retrospectively, be more surprising than his books of stories and essays. In the same way kindred phenomena, in letters, science or music, to the painting of such pictures as this paper is started to support and discuss, will be welcomed and sought for in its pages.

Editors

Wyndham Lewis (1882 – 1957)
Editor: 1921 – 1922

Wyndham Lewis was the founder and editor of The Tyro. As a painter, author, and editor of other modernist magazines such as BLAST and The Enemy, he was closely associated with the Vorticist movement in art and played a salient role in modernist thought in England.

Contributors

No. 1

Wyndham Lewis, T.S. Eliot, Guz Krutzsch, Robert McAlmon, John Adams, John Rodker, David Bomberg, William Patrick Roberts, O. Raymond Drey, Frank Dobson, and Herbert Read.

No. 2

Wyndham Lewis, T.S. Eliot, O. Raymond Drey, Jessie Dismorr, Stephen Hudson, John Adams, John Rodker, Herbert Read, Waldeman George, Jaques Lipschitz, Austin Dobson, Frederick Etchells, and Edward Wadsworth.

Bibliography

Brooker, Peter. The Oxford Critical and Cultural History of Modernist Magazines. Oxford University Press: Oxford, 2009. Print.

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

Tyro. Modernist Journals Project. Brown University Library, Center for Digital Initiatives. Web. 08 Oct. 2010.

The Transatlantic Review

Facts

Title: 
The Transatlantic Review

Date of Publication: 
Jan. 1924 (1:1) – Dec. 1924 (2:6)

Place(s) of Publication: 
Paris, France
London, England
New York, NY

Frequency of Publication: 
Monthly

Circulation:
Unknown

Publisher: 
Transatlantic Review Company. 29 quai d’Anjou, Ile Saint-Louis, Paris.
Duckworth and Co., London, England
Thomas Seltzer, New York

Physical Description: 
Bound originally in Quarto with blue and white covers (later changed to blue and buff, as the white covers dirtied too easily). Generally ran approximately 120 pages in length. Often included a musical supplement or a literary supplement. Occasional illustrations.

Price: 
7.5 francs per issue  / 75 francs per year

Editor(s): 
Ford Madox Ford (1924)

Associate Editor(s):
Ernest Hemingway (Guest Editor) (Aug. 1924)

Libraries with Original Issues: 
Bodleian Library, British Museum, Cambridge University Library, Trinity College Library, UK.

Reprint Editions: 
Kraus Reprint, New York, 1967.

Description

Ford Madox Ford was walking the streets of Paris in 1923 when he chanced upon his brother Oliver, who offered him the editorship of the newly conceived Transatlantic Review. Ford joined James Joyce, Ezra Pound, Ernest Hemingway, and lawyer-cum-financier John Quinn to form the editorial board of the monthly journal.

In its short, twelve-issue run, The Transatlantic Review became a major force in the literary scene of the mid-1920s. Publishing both English and French contributions, the review debuted selections from James Joyce’s Finnegan’s Wake (in 1924 titled only “Work in Progress”), and gave Ernest Hemingway a jumpstart to his mounting career. The Transatlantic Review sought to establish its own brand of international literary cosmopolitanism, and was published simultaneously in London, Paris, and New York. Apart from regular contributions from the editorial staff, the magazine featured poetry, prose, and artwork from Djuna Barnes, e. e. cummings, H. D., Joseph Conrad, Juan Gris, Mina Loy, Man Ray, Gertrude Stein, William Carlos Williams, John Dos Passos, and other famed Modernists.

Eventually, the growing influence of the young expatriate American writers upon The Transatlantic Review pitted the older and more conservative Ford against the more contemporary prose styles of the American modernists. As Alvin Sullivan notes, the history of The Transatlantic Review is appropriately “the story of the aggressive American victory on the literary and cultural battlefield of post-war Europe” (463). It was thus ultimately fitting that the review’s motto Fluctuat – meaning “it wavers” – was adopted without the remainder of the Paris maxim, Nec Mergitur, – “and is not sunk.” The Transatlantic Review did indeed sink, but not before it left an indelible mark upon the history of early twentieth century literature.

Manifesto

The editors of The Transatlantic Review offered an all-but-concise manifesto in their initial issue:

Paris, December, 1923

Purposes

The Transatlantic Review, the first number of which will appear on January 7th, 1924, will have two only purposes, the major one, the purely literary, conducing to the minor, the disinterestedly social.

The first is that of widening the field in which the younger writers of the day can find publication, the second that of introducing into international politics a note more genial than that which almost universally prevails. The first conduces to the second in that the best ambassadors, the only nonsecret diplomatists between nations are the books and the arts of nations. There is no British Literature, there is no American Literature; there is English Literature which embraces alike Mark Twain and Thomas Hardy with the figure of Mr. Henry James to bracket them. The aim of the Review is to help in bringing about a state of things in which it will be considered that there are no English, no French–for the matter of that, no Russian, Italian, Asiatic or Teutonic–Literatures: there will be only Literature, as today there are Music and the Plastic Arts each having Schools Russian, Persian, 16th Century German, as the case may be. When that day arrives we shall have a league of nations no diplomatists shall destroy, for into its comity no representatives of commercial interests or delimitators of frontiers can break. Not even Armageddon could destroy the spell of Grimm for Anglo-Saxondom or of Flaubert and Shakespeare for the Central Empires. And probably the widest propaganda of the English as a nation is still provided by Mr. Pickwick.

Why then Paris?

The Conductors and Proprietors of the Review have selected Paris as its home because there is no other home possible for a periodical which desires to spread comprehension between the three nations. What other centre could there be? London? Hear, New York leading, all the sons of Old Glory roar: “No!” Should it be New York? All immense London turns in its sleep to yawn: “We think…we decidedly think…not!” Berlin? Rome? Shiraz? …But the Conductors do not know German, Italian, or Persian so very well. They are, besides, out principally after young literature: there is no young man, be his convictions what they may, who, if he has saved up but his railway fare and sixty centimes, will not fly to Paris and cry: “Garçon, un bock!” How many hours may you not here spend at a little table, listening to young giants whose voices almost outsound the wheels of tram 91 and the rustle of the falling chestnut leaves as they cry: “You are ga-ga. Henry James was my great-grandmother! Who, anyhow, was Petronius? You must go to West-Middle-West-by-West to know what writing is and there is no painter but….” That may well be true: we labour in that hope. But the point is that they remain in Paris. You don’t from here have to write to Oklahoma for contributions: from all the other proud cities you must.

Persons and Politics.

The Home being determined, the Proprietors pitched upon Mr. F.M. Ford as Conductor. Mr. Ford, formerly–and perhaps better–known as Ford Madox Hueffer was the founder of the “English Review” which in its day made good along the lines on which this Review now proposes to travel. It published the work not only of such old and eminent writers as Mr. Henry James, President Taft, Dante Gabriel Rossetti, Mr. Thomas Hardy, Monsieur Anatole France and Herr Gerhardt Hauptmann, but it backed with energy such then only rising waves as Mr. Galsworthy, Mr. Bennett and Mr. Joseph Conrad. It printed the first words of Mr. D.H. Lawrence, Mr. Ezra Pound, Mr. Norman Douglas and many other writers now established, and it serialized the first novel of the late Mr. Stephen Reynolds and the first of the longer sociological novels of Mr. Wells, who will contribute also to the Transatlantic. So too will Mr. Joseph Conrad. The ever moving film has now progressed by a reel and it is such writers as Mr. James Joyce, M. Pierre Hamp, Mr. E.E.Cummings, M. Descharmes and Mr. A.E. Coppard that with the assistance of Mr. Ezra Pound, Mr. T.S. Eliot, Miss Mina Loy, Mr. Robert McAlmon and Miss Mary Butts to mix our liquors as singularly as possible–the Review will energetically back, whilst it will hope to print the first words of many, many young giants as yet unprinted. The politics will be those of its editor who has no party leanings save toward those of a Tory kind so fantastically old fashioned as to see no salvation save in the feudal system as practised in the fourteenth century–or in such Communism as may prevail a thousand years hence.

The Second Country.

Finally, as to affairs inter-tribal! There was a United States naval officer who once said: “My country right or wrong!” France being the second fatherland of every human being–for who, born in Luton would not put Luton first and then Paris second?–the Review will have but one motto: Our Second Country right; our Second Country wrong; but right or wrong Our Second Country: This because of Toutes les gloires de la France. For other countries have their Tamerlanes transcendant in their halls of fame; it is only in France that you will find an equal glory accorded to all writers from Racine back to Villon; it is only in France that you will find the Arts of Peace esteemed above the science of warfare; not Napoleon or eagles on the postage stamps! Or there is perhaps China. But Pekin is a long way off. At any rate no writer or artist will in the Transatlantic Review find flouting merely because he is of a former Enemy or Neutral nation–nor will any other being.

The Transatlantic Review will devote a quarterly supplement to reproductions of paintings, drawings and sculpture; and a quarterly section to the Art of Music.

It will be published in Paris, London and New York.

Price fifty cents per copy; annual subscription five dollars.

(Reprinted in Poli 37 – 41)

Editors

Ford Madox Ford (Dec. 17, 1873 – June 26, 1983)
Editor: Jan. 1924 – Dec. 1924

Remembered best for his master novel The Good Soldier (1915) and his landmark founding of The English Review, Ford Madox Ford (originally Ford Madox Hueffer) promoted the value of the arts and the importance of literature for literature’s sake throughout his life. Having published Thomas Hardy, Joseph Conrad, and W.B. Yeats in The English Review, Ford sought with the creation of The Transatlantic Review to establish a magazine “that would create anew an international Republic of Letters for Anglo-Saxondom” (Sullivan 459).

Ernest Hemingway (July 21, 1899 – July 2, 1961)
Guest Editor: August 1924

In the 1920s Ernest Hemingway was struggling to become established as an author. In August 1924 Ford Madox Ford hoped to travel to New York City to seek further financial support for his magazine. Despite their history of clashing personalities, Ford asked Hemingway to edit the August issue while he was gone. Left in Paris, free of the literary shadow Ford cast upon him, Hemingway excised all works then currently in serialization from the issue, including Ford’s own Some Do Not.

Contributors

Georges Antheil
“Mother of the Earth”
“Notes for Performers”

Djuna Barnes
“Aller et Retour”
“Gertrude Donovan”

Joseph Conrad
“The Nature of a Crime”

A. E. Coppard
“The Higgler”

E. E. Cummings
Various poems

H. D.
“Nossis”
“Flute Song”
“After Troy”

Ford Madox Ford
Some Do Not… (Serially)

Juan Gris
“Des possibilités de la peinture”

Ernest Hemingway
“Work in Progress” (draft of “Indian Camp”)
“Cross Country Snow”
“The Doctor and the Doctor’s Wife”

James Joyce
“Work in Progress” (Selections from Finnegan’s Wake)

Mina Loy
“Gertrude Stein”

Robert McAlmon
“Elsie”

John Dos Passos
“July”

Ezra Pound
“Two Cantos”

Gertrude Stein
Excerpt from Making

Bibliography

Anderson, Elliott, and Mark Kinzie, eds. The Little Magazine in America: A Modern Documentary History. Stamford, CT: Stamford UP, 1978.

Carpenter, Humphrey. Geniuses Together: American Writers in Paris in the 1920s. Boston: Houghton Mifflin Company, 1988.

Ford, Ford Madox. It Was the Nightingale. London: William Heinemann, 1934.

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

Image, cover Oct. 1924. “Apprenticeship and Paris.” 10 Sept. 2002. Department of Rare Books and Special Collections. University of South Carolina. 13 July 2009 <http://www.sc.edu/library/spcoll/amlit/hemingway/hem3.html>.

Image, Ernest Hemingway bibliographic response. “Ernest Hemingway In His Time: Appearing in the Little Magazine.” 18 Nov. 2003.Special Collections Department. University of Delaware Library. 22 July 2009 <http://www.lib.udel.edu/ud/spec/exhibits/hemngway/mags/htm>.

Korg, Jacob. “Language Change and Experimental Magazines, 1910-1930. Contemporary Literature 13.2 (1972): 144-161.

Pizer, Donald. American Expatriate Writing and the Paris Moment: Modernism and Place. Baton Rouge: Louisiana State UP, 1996.

Poli, Bernard J. Ford Madox Ford and the Transatlantic Review. New York: Syracuse UP, 1967.

Pound, Ezra. “Small Magazines.” The English Journal 19.9 (Nov. 1930): 689-704.

Saunders, Max. Ford Madox Ford: A Dual Life. Volume II: The After-War World. Oxford: Oxford University Press, 1996.

Sullivan, Alvin, ed. British Literary Magazines: The Modern Age, 1914-1984 (Historical Guides to the World’s Periodicals and Newspaper). New York: Greenwood Press, 1986.

The Transatlantic Review. 1924. New York: Kraus Reprint Corporation, 1967.

“The Transatlantic Review” compiled by Joel Hewett (Class of ’07, Davidson College)

TIME

Facts

*This is an example entry for student contributors*

 

Title:
TIME: The mausoleum of all hope

Date of Publication: 
Stylized as: Jan. 4, 1914 – Feb. 1923

Place(s) of Publication:
Stylized as: New York, NY ; Paris, France

Frequency of Publication: 
Stylized as: Monthly

Circulation:
Number. Use ~ to designate approximation

Publisher: 
Name of Publisher, Street Address if Available

Physical Description: 
Describe the physical magazine. Do not comment on the content. Dimensions, coloring, number of pages, inserts, foldouts – anything that describes the material magazine.

Editor(s): 
Provide full name. If more than one, list them like:
Peter Bowman
T.S. Eliot

Associate Editor(s):
Provide full name. If more than one, list them with specific titles in parentheses like:
Peter Bowman (Associate Editor)
T.S. Eliot (Contributing Editor)

Libraries with Original Issues: 
List all libraries as such: Bodleian Library; British Museum; Cambridge University Library; King’s College London; National Library of Scotland, Edinburgh; Trinity College Library; University of London Library
If there are online PDFS, include that here, with a hyperlink. NEVER paste the hyperlink directly into the text! What is this, middle school? Always highlight the text and add a link that way.

Reprint Editions: 
List the same way you would list the libraries above.

For all entries, if you are sure there are no relevant data, put “None.” If you aren’t 100% sure, put “Unknown”

Description

Give an overview of the magazine here. Remember that you are writing a bibliographic entry, not an essay.

Do not:

  • Offer unsubstantiated claims like “One of the most influential magazines ever printed.” Your job is to provide cold, hard facts, not offer some profound observation or personal opinion.
  • Write so much about the editors that the Editors section becomes redundant
  • Write any “filler” material. Some magazines simply do not have much information that’s been published about them. You won’t be penalized for a shorter entry if it’s good and thorough, so don’t try to make it longer by restating what you’ve said or adding meaningless comments.
  • Misspell foreign words. If it’s in French, and you don’t speak French, look up which way that accent goes
  • Forget to follow basic stylistics: italicize titles of publications; don’t use comma splices; don’t screw up apostrophes

Manifesto

Copy the manifesto of the publication here. If there is no manifesto, explain that there is no manifesto and copy whatever you can find in the magazine that might be similar. If there simply is no manifesto, just say so and move along.

Editors

Stylize the heading as follows:

Peter Bowman (Jan. 31, 1909 – Nov. 18, 1995)
Editor: 1941 – 1995

Provide basic biographical information. This includes place of birth, schooling, notable family members, traumatic or transformative experiences, cities of residence, reasons for publishing a magazine, hobbies and interest, love affairs – basically anything you’d find at the top of a Wikipedia entry (though, of course, you’re not about to copy and paste from Wikipedia)

Contributors

The vaguest section, Contributors is supposed to provide a snapshot of contributing writers. For some publications, the amount of individual contributors is staggering – by no means do you have to list them all.

Be sure to list notable authors and artists, but do not restrict your entries to canonical figures.

Stylize as follows:

Nicholas Bentley
Cover design (No. 400)

P. Bien
“A Hartley Biography”

T.S. Eliot  
“Reflections on the Unity of European Culture” (No. 158)
“The Amis of Poetic Drama” (No. 200)
“Rhapsody on a Windy Night”
“The Hollow Men”
“A Song for Simeon”

Bernard Kaps
Wrote a drama of Ezra Pound’s despair after his imprisonment in 1945

D. Day Lewis
“The Watching Post”

Charles Moncheur
Published French translations of T.S. Eliot poems, including:

Raymond Mortimer
Issue celebrating Beethoven’s centenary

Jeremy Reed
“The Ides of March”

Ronald Searle
Cover design (No. 200)

Bibliography

Follow standard practice for MLA citation. If you are citing online resources, highlight the title, click the chainlink icon just above this text box, paste the URL, and press ENTER. And there you have your hyperlink. Include your name in italics at the bottom of the entry. Follow this example for formatting:
“Adam International Review.” British Literary Magazines: The Modern Age, 1914-1984. 1st ed. 1986. Print.
“Adam International Review.” British Poetry Magazines 1914-2000: A History and Bibliography of ‘Little Magazines’. 1st ed. 2006. Print.
Adam International Review: H.G. Wells issue. Digital image. Galactic Central. N.p., 2012. Web.

Grindea, Miron. Adam International Review. Digital image. Derringer Books. N.p., 2012. Web.

–. Adam, International Review. Digital image. Trussel. N.p., 2010. Web.

–. Adam International Review 200th issue. Digital image. Bibliopolis. N.p., 2012. Web.

Kemsley, Rachel. “Adam International Review.” King’s College London Archives Services – Summary Guide. King’s College London, n.d. Web. 20 Oct. 2012.

Schüler, C.J. “Miron Grindea: The Don Quixote of Kensington.” The Independent. 1 Apr 2006. Web. 23 Feb 2016.

“Adam” compiled by Bettina Lem (Davidson College, Class of ’13)

Tambour

Facts

Title:
Tambour

Date of Publication: 
Nov. 1928 – June 1930

Place of Publication: 
Paris, France

Frequency of Publication:
Quarterly

Circulation:
Around 2,000

Publisher:
Howard J. Salemson

Physical Description:
Irregular pages. 5.5″ x 6.5”: 60 pages of texts and notes followed by advertisements.

Price:
Unknown

Editor(s):
Howard J. Salemson

Associate Editor(s):
Unknown

Libraries with Original Issues:
Unknown

Reprint Editions:
Salemson, Howard, ed. Tambour. Comp. Mark S. Morrison and Jack Selzer. Vol. 1-8. Madison: University of Wisconsin, 2002. Print.

Description

Tambour ran from the end of 1928 until June of 1930. The magazine was under the sole direction of its editor and founder, Howard Salemson. Salemson created a “vigorous hybrid, combining the modernist little magazine’s emphasis on innovative and unknown authors with the revue genre’s emphasis on a wide-ranging review section at the end of each issue” (Morrison 20). With his goals for a hybrid publication, Salemson also aimed to bring Tambour to a multi-cultural audience.  He wished to create a dialogue between French and American expatriate audiences and beyond “what could be achieved by occasional publication of foreign work in translation” (21).

Salemson reached multi-cultural audiences by including texts in both their original French and in English translation (that Salemson translated himself). The body of texts he published also included “early work of American writers who went on to enjoy great success,” including the work of writers like Paul Bowles and James T. Farrell (25).

Though Salemson only published 8 issues of Tambour, its run produced a sizable list of paid subscribers and its circulation grew to be larger “than those of other, more famous, little magazines like the Egoist” (58). Among Tambour’s subscribers were writers, philosophers, composers, moviemakers (sic), editors, and journalists from France, Italy, and the United States (59).

Manifesto

Tambour’s manifesto is provided at the beginning of its first issue and goes under the heading, “Presentation.”  It was written by editor Harold Salemson and is provided in both French and English.

“To interpret the past is to express the present; to express the present is to create the future.

Every form of artistic expression, past, present, or future, whatever be its tendency, is tolerable.  It is only by establishing the movement, forward or backward, of art, that we can bring out its meaning, its value.  The new direction can be conceived only in the light of the lessons learned of the past.

In questions of art or of literature, ideas, beliefs, races, all melt into one.  Whatever may be our origin or our convictions, we are all humans united in an overpowering search for the ultimate goal of art, beauty.

We shall assemble all the species, all the tendencies.  To our readers will be left the privilege of passing judgment.

BUT THE NEW GAIT WILL BE SOUNDED TO THE BEAT OF THE TAMBOUR.

H.J.S.”

Editors

Howard J. Salemson (1910 – ?)
Editor: 1928 – 1930

Howard J. Salemson was the editor of Tambour and exercised complete control over the magazine. Born in Chicago in 1910 as the son of a physician and teacher,  Salemson was 18 when he started editing Tambour. He enrolled in the Experimental College at the University of Wisconsin-Madison in 1927. By 1928 Salemson had acquired enough of a background in French that the Experimental College decided to support a new venture for Salemson in Paris in the form of a little magazine. In 1928, with the funding of the Experimental College, Salemson published the first issue of the French literary magazine, Tambour (Morrison 6) .

After the conclusion of Tambour’s publication, Salemson kept his “bilingual emphasis” and began translating “articles and literary pieces for literary and film magazines, and also translated some twenty books–primarily nonfiction–from French into English” (66). Salemson also took his affinity for film and film criticism to the United States when he moved to Hollywood, CA with the intention of “becoming creatively involved in the making of films” (66). Due to the Great Depression, however, Salemson was never able to break into the film industry creatively. In the years following his 1931 move to Hollywood, Salemson worked for several major movie studios, but as “assistant director, technical advisor, French lyricst, and recording supervisor, publicity writer, and publicity director” (67).

Contributors

Howard J Salemson (notable contributions)
“Presentation”
“Open Letter to Michael Gold”
“To A Group of Young Men.”

Julian Shapiro 
“You Drum Major”
“An Old Lady”

Edward Roditi
“Melanchole Au Grand Air”
“Often At Night”
“Poems”

H.R. Hays 
“A Necessary Dismissal”

Richard Thomas 
“Vie Et Cevre de Jean Cocteau”
“Portrait of a Writer”

Bibliography

Hoffman, Frederick J., Charles Allan, and Carolyn F. Ulrich. The Little Magazine: A History and a Bibliography. 2nd ed. Princeton: Princeton UP, 1947.

Mark Morrisson, “Tambour, the ‘Revolution of the Word,’ and the Parisian Reception of Finnegans Wake,” in Mike Begnal (ed) Joyce and the City: The Significance of Place. Syracuse University Press, 2002.

Salemson, Howard, ed. Tambour. Comp. Mark S. Morrison and Jack Selzer. Vol. 1-8. Madison: University of Wisconsin, 2002. Print.

Scholes, Robert and Sean Latham. “Modernist Journals Project.” (n.d.): MLA International Bibliography. EBSCO. Web. 12 Sept. 2010.

“Tambour” compiled by Danny Weiss (Class of ‘11, Davidson College)

Story

Facts

Title: 
Story: The Magazine of the Short Story
Subtitle varied:
The only magazine devoted solely to the short story (Apr./May 1931 – Apr. 1933)
Devoted solely to the short story (June 1933 – Jan. 1937)
The magazine of the short story (Feb. 1937 – 1964)

Date of Publication: 
April 1931 – Summer 1948
1960 – 1967

Place(s) of Publication:
Vienna, Austria
Majorca, Spain
New York, NY

Frequency of Publication: 
Bi-monthly (frequency varied from quarterly to monthly)

Circulation: 
600 copies in 1933, a figure that climbed to 21,000 copies by the late 1930s

Publisher:
Story Magazine, Inc., New York, NY (June 1933 – Sept. 1934; Sept. 1935 – Summer 1948; 1960-1967)
Random House Magazine, Inc., New York, NY (Nov. 1934 – Aug. 1935)

Physical Description: 
21 x 24 cm

Price: 
50 cents per issue / $2.50 per year (3.3)
Price varies between 25 – 50 cents per issue and $2 – $4 per year

Editor(s): 
Whit Burnett (1931 – 1967)
Martha Foley (1931 – 1941)

Associate Editor(s):
Bernardine Kielty (1933 – 1940)
Hallie S. Burnett (1942 – 1948)

Libraries with Complete Original Issues:
Princeton University

Reprint Editions: 
Kraus Reprint Corporation, New York, 1967

Description

Story Magazine was originally printed in Europe (Vienna and Majorca, Spain) for two years before it moved to the United States. Editors Whit Burnett and Martha Foley were dedicated to preserving the short story, concerned that it would be lost among the article-ridden magazines of America. Their manifesto, printed in the first issue of the magazine, rejected the commercial preoccupations that were associated with magazines during this time. The magazine tried its best to remain separate from theories and popular movements during this time by focusing exclusively on short stories instead of political issues.

Story was published from 1931 to 1967, but ceased publication from 1948 to 1960. The covers were often red or yellow with simple, black script denoting the contents of the magazine. For the most part, Story is devoid of advertisements or color pages, consisting mostly of the plain text of story stories written by various authors, with occasional black and white images during the later years of publication.  Story tried to distinguish itself from ubiquitous pulp magazines and to remain separate from mass consumer culture by emphasizing literary prestige. Around the time of World War II, Story started including various articles supporting the American troops, such as the spread of photos titled “Writers and Fighters” that appeared in the September/October 1945 edition of the magazine. Biographies of the authors often accompanied the title page of each issue. In later editions, the magazine included a “Plus & Minus” section that was a survey of reviews published during the time.

Manifesto

The following manifesto appeared in Story: The only magazine devoted solely to the Short Story 1:1 (April-May 1931):

“The only purpose of Story is to present, regularly, from one place, a number of Short Stories of exceptional merit. It has no theories, and is part of no movement. It presents short narratives of significance by no matter whom and coming from no matter where.

It is not an anthology, but a sort of proof-book of hitherto unpublished manuscripts. Some of the stories will doubtless appear later in other, perhaps more permanent pages, and the rights remain vested in the authors, to whom communications may be addressed, or to the Editors of Story, 16 Poetzleinsdorferstrasse (xviii) Vienna. Thus the magazine is withheld by the editors from public sale in England and the United States, but may be obtained in Vienna, Paris, Nice, Budapest and Berlin.

Only Short Stories are considered, and if and when any articles are used, they will be as rare as Short Stories of creative importance are today in the article-ridden magazines of America.”

Editors

Whit Burnett (Aug. 14, 1899 – 1972)
Editor: 1931 – 1967

Whit Burnett was born in Salt Lake City, Utah on August 14th, 1899 (Burnett). He attended school at the University of Utah and the University of California. After school he worked at various newspapers before moving to Europe to be a correspondent for the New York Sun (Burnett; Hailey). While in Vienna, in 1931, he cofounded Story with his wife, Martha Foley. Two years later the couple moved back to the states and continued editing Story together until 1941, when they divorced. Burnett later married Hallie Southgate Abbett, who then joined him as associate editor from 1942 – 1948 (Hailey). Burnett continued as Story’s editor until 1967, despite a lapse in publication from 1948 to 1960. He contributed numerous short stories to the collection and was responsible for discovering many talented young short story writers.

Martha Foley (1897 – 1977)
Editor: 1931 – 1941

Martha Foley was born in Boston and studied at Boston University.  After she graduated, she became heavily involved in American feminist and labor movements.  She also became involved in newspaper work, which resulted in her becoming a correspondent in Vienna (Burnett). She continued functioning as its co-editor until 1941. During her time editing Story, she contributed numerous short stories and editorials.

Contributors

Whit Burnett
numerous contributions

Charles Bukowski
“Rejection Slip” (1944)

Truman Capote
“My Side of the Matter” (1945)

John Cheever
“Homage to Shakespeare” (1937)

William Faulkner
“Artist at Home” (1933)

Martha Foley
numerous contributions

Joseph Heller
“I Don’t Love You Anymore” (1945)

Zora Neale Hurston
“The Gilded Six-Bits” (1933)

Aldous Huxley
“Morning in Basle” (1936)

J.D. Salinger
“The Young Folks” (1940)
“The Long Debut of Lois Taggett” (1942)
“Once a Week Won’t Kill You” (1944)
“Elaine” (1945)

William Saroyan
“The Daring Young man on the Flying Trapeze” (1934)
“The Nurse, the Angel, the Daughter of the Gambler” (1936)
“The Cat” (1936)
“We Want a Touchdown” (1938)

Tennessee Williams
“The Field of Blue Children” (1939)

Richard Wright
“Fire and Cloud” (1938)

Bibliography

Archives of Story Magazine and Story Press; 1931-1999, Manuscripts Division, Department of Rare Books and Special Collections, Princeton University Library.

Burnett, Hallie. “Personal Recollections Of A Story Editor.” Connecticut Review 6.2 (1973): 5-12. Print.

Burnett, Whit, and Martha Foley, eds. Story: The Magazine of the Short Story. 1931. 32 vols. New York: Kraus Reprint Corporation, 1967. Print.

Burnett, Whit, and Martha Foley, eds. Story: The Magazine of the Short Story. 1931. 32 vols. New York: Kraus Reprint Corporation, 1967. Print.

Calder-Marshall, A. “A Story Anthology. Edited by Whit Burnett and Martha Foley (Book Review).” The Spectator 152, no. 5526 (May 25, 1934): 820. Web.

Hailey, Jean R. “Whit Burnett, Editor of Story Magazine.” The Washington Post, Times Herald (1959-1973). April 25, 1973, sec. Metro Local News Obituaries Classified

Images. AbeBooks Advertisement of Story: The Magazine of the Short Story. Digital image. AbeBooks. Web. 15 Sept. 2015.

Neugeboren, Jay. “Story.” The American Scholar Vol. 52, No. 3 (Summer 1983): 396-400, 402-406. Web.

Stolts, Craig. “J. D. Salinger’s Tribute to Whit Burnett.” Twentieth Century Literature Vol. 27, No. 4 (Winter, 1981): 325-330. Web.

Thorp, Willard. “Whit Burnett and Story Magazine.” Princeton University Library Chronicle 27 (1966): 107–12.

“Story” compiled by Audrey Lane (Class of 2016)