It feels both hugely restorative and humbling, in our age of digital media, to visit an archive and hold a fifty year-old literary magazine, carefully made and preserved, yet still fleetingly physical, in your hand. Anne Waldman, co-editor (with Lewish Warsh) of the small magazine Angel Hair, describes the significance of that experience in this quote from her introductory essay to the 2002 Angel Hair feature in Jacket: “...so-called ephemera, lovingly and painstakingly produced, have tremendous power. They signify meticulous human attention and intelligence, like the outline of a hand in a Cro-Magnon cave.”
Ted Berrigan’s “The Drunken Boat” — a mimeograph publication from 1974 with drawings by Joe Brainard — exemplifies a different type of insouciance towards the source text than any we’ve seen thusfar. Berrigan passes off his seemingly straight, utterly conventional translation of Rimbaud’s “Le Bateau Ivre” as his own work. He calls his translation a “homage” to Rimbaud — which, while usually a humble gesture acknowledging influence and gratitude, in this case could be possibly interpreted as a form of naked aggression and erasure.