Note:

In accordance with Cabell's principal of literary economy and his skill at recycling his literary output, many if not most of his short works were later adapted and re-used in later publications. The "Book Inclusion" column lists the later work in which the item re-appeared.

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Silver Stallion editor Bill Lloyd has been researching some contributions to The Reviewer that may have been written by Mr. Cabell. He has these comments:

Zoöpantoum: from the Ruritanian (as by A.C. Fairfax.)
October, 1921, Vol. II, No. 1, pp. 45-46

This was not re-used by Cabell in later works, and is not in Brewer's 1957 bibliography.  Emily Clark identified A. C. Fairfax in a 1929 Virginia Quarterly Review article: https://www.vqronline.org/essay/case-mr-cabell-vs-author-biography, so it is somewhat surprising that it did not make its way into Brewer.  Although the pseudo-scholarly trappings -- e.g., the unknown source ‘Gehagatias’ (?=’Eat a Haggis’) -- and general wise-ass atmosphere are suggestive, we might be tempted to question the attribution, as the item consists of little more than cribs from three of Aesop’s fables, hewing most closely to the so-called “JBR” text first published in 1874.  As far as I can tell no copy of Aesop of this date or any other survives in Cabell’s library. But Edgar MacDonald accepts the attribution in his 1983 Cabell biography, p. 228; as also does Elizabeth Spindler Scott in 1985 in An experiment in Southern letters: The Reviewer 1921-1925.

Cui Bono? (as by Ross Smith)
October, 1924, Volume IV, Number 5, pp. 408-409

Not in Brewer's 1957 bibliography. It is a very brief fable in Cabell’s characteristic idiom. If it be not by Cabell it is certainly an intentional pastiche. Although there are many obscure writers published in the pages of The Reviewer even the slightest can usually be found to have a Richmond connection or a poem in some small magazine. But I can find no Ross Smith that fits those criteria. And this is printed directly following Emily Clark’s valedictory for The Reviewer (after which it moved to North Carolina to be edited by playwright Paul Green for a year and then to be merged with The Southwest Review, published at SMU.)