The history of little magazines over the course of the twentieth century has been intimately bound up with their remediation, first as microfilm, reprints, and anastatic copies in the 1940s, 50s, and 60s, and now, in our own moment, as digitized documents. This article traces the complex evolution of the little magazine as a remediated form and offers some theoretical reflections on ways that it can be used to help think about modernism and the practice of curating the digital archives used to define it.

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