I believe you are completely correct concerning the Cobra exposition[1]: we must try to utilize the success of Cobra[2] by presenting ourselves as the necessary surpassing of this era or, rather, as the strong antidote to the Neo-Cobras.[3]
The story by Jorgen Nash is very good.
You can send me the proofs for Selandia, indicating the maximum dimensions that these texts can attain, and I will make the necessary corrections and deletions.
I still haven't seen Ralph [Rumney]. I think that he is still in London. But I am very surprised by not receiving any of the Cosio texts, which he'd promised to send me by the first of September, at the latest (in these conditions, I must complete the mock-up of the journal[4] by 15 September [1957] . . .).
I haven't even received a letter explaining this delay. When do you return to Paris? I hope to see you soon.
Amicably,[1] In Amsterdam.
[2] The Cobra movement, founded in Paris on 8 November 1948 by the painters Appel, Constant, Corneille and Jorn, and the writers Dotremont and Noiret, in reaction to the political and aesthetic tendencies of Socialist Realism, on the one hand, and French surrealism, on the other, was dissolved in 1951.
[3] Those who wanted to make the completed adventure [of Cobra] last a little longer. Jorn and Constant joined the SI [Situationist International].
[4] Eristica.
(Published in Guy Debord, Correspondance, Volume 1, 1957-1960. Footnotes by Alice Debord. Translated from the French by NOT BORED! May 2005.)