“Dear Ted,” Barbara Guest writes in the note above, “Would they were writ in gold. Affection--though--Barbara.” This was the cover note Guest included with her submission of two poems, “Looking at Flowers Through Tears” and “Sturm Nacht,” for the summer 1964 issue of C: A Journal of Poetry. Guest's poems appeared alongside work by John Ashbery, John Wieners, James Schuyler, Ted Berrigan, Kenward Elmslie, Ron Padgett, and others; she was the lone woman writer in this and the other two issues in which her work appeared: Volume 1, Number 5 (October/November 1963) and Volume 2, Number 11 (Summer 1965). For a more complete catalogue of the Table of Contents for this and other issues of C, I recommend visiting the RealityStudio site, “Index to the Contents of C: A Journal of Poetry.” Below are the images of the manuscript versions of the two poems from Volume 1, Number 9 (summer 1964) as they appear in the Fales Library archive.
C: A Journal of Poetry first appeared in May of 1963, edited by Ted Berrigan and published by Lorenz Gude. It became an influential showcase for the work of New York School poets and artists — like Berrigan himself, along with Ron Padgett, Joe Brainard, Kenneth Koch, James Schuyler, John Ashbery, Dick Gallup, David Shapiro, and others — it was a predominantly male list, though Barbara Guest and a few others (including Alice B. Toklas!) made appearances. The Fales Library has only a partial collection of the journal; all of the images included below are from that archive. To match the scattershot nature of the image collection, this commentary will be a collage of quotes from friends and fellow poets of Berrigan's in Nice to See You: Homage to Ted Berrigan, edited and introduced by Anne Waldman for Coffee House Press in 1991.
“Only three years had passed,” Lewis Warsh writes of publishing the journal Angel Hair, “but it felt like many lifetimes.” By 1969, when the last issue of Angel Hair appeared, Warsh and Waldman had begun publishing books--mainly because many of their poet friends needed publishers for their book-length collections, but also because The World, a new magazine published by the Poetry Project, was covering much of the same ground as Angel Hair. “I also felt,” Warsh says, “that we had made our point in trying to define a poetry community without coastal boundaries--a community based on a feeling of connectedness that transcended small aesthetic differences, all the usual traps that contribute to a blinkered pony vision of the world.”