new young scholars, becoming voices for the advent of modernism in the 1920s, and finally in the 1930s entering into the debate over the future economic prosperity of the South on the side of agrarianism, having heated debates with what they viewed as Southern "liberals". Examples of the first phase, which were a significant factor in keeping the genre of Southern letters alive for the two decades after the Civil War, include Daniel H. Hill's 1866–1869 The Land We Love, which widened its readership by including agriculture and military history alongside the literature; W. S. Scott's 1865–1869 Scott's Monthly Magazine; Moses D. Hodge's and William Hand Browne's 1866 Eclectic (later to be the 1869 New Eclectic after its absorption of The Land We Love and finally changing to Southern Magazine in 1871); De Bow's Review, an ante-bellum magazine revived briefly in 1866; Albert Taylor Bledsoe's 1867–1869 Southern Review; Mrs Cicero Harris's 1872–1882 The South Atlantic, which, like The Land We Love, augmented literature with science and art coverage; and the 1882–1887 Southern Bivouac, which was one of the last little magazines to be devoted to the Lost Cause. The second phase, which was a reactionary movement amongst young scholars in Southern colleges and universities that was critical of the South, and which was discussed in the contemporary essays of John B. Hennemann, is exemplified by William P. Trent's 1892 Sewanee Review (which Hennemann was later to edit), which would influence John Spencer Bassett to found the South Atlantic Quarterly in 1902. Both Trent and Bassett were professors, at the University of the South and at Trinity College, respectively, and Bassett in particular was risking his job by publishing, as his magazine directly addressed racial issues in the South and reform, something that his successor toned down, editor Edwin Mims. The early years of the third phase saw The Westminster Magazine founded in 1911 and affiliated with Oglethorpe University; Stark Young's Texas Review affiliated with the University of Texas, which relocated to Southern Methodist University in 1924 and changed the name to Southwest Review under the editorship of Jay B. Hubbard; the 1921–1926 The Double Dealer; and John Crowe Ransom's and Robert Penn Warren's 1922 The Fugitive published by the Vanderbilt University Group. Other influences for the Southern Renascence were The Lyric and The Nomad, both of which had brief lifetimes in the 1920s. As young writers from Vanderbilt, the Double