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<h2 class='date-header'><span>Friday, November 03, 2006</span></h2>

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<p class=MsoNormal align=right style='text-align:right'><img height="280" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/fSEw-QDOZK_yBe8v6zAJgwK7R08lRiu9UKNtJyut21uqrDjzyyHkvRDMKF0uHQvyP6oItCXHzu_xOqQoLYwvAhA5mbmzI1Opl3xr1cUrB-arB12zfmUVIGO6Dw04og%3Ds0-d" width="564"><br>
<span style='font-size:8.0pt;font-family:Arial;color:black'>David Bromige</span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Early in 1968, a friend at SF State, David Perry (a graduate of the writing program at Bard &amp; master&#8217;s level writing student at State not to be confused with the current, much younger poet of the same name) convinced me to attend a reading at the Albany Public Library in order to hear one of his old Bard classmates, Harvey Bialy. The great irony, from my perspective, being that this was the very same room, even, where I&#8217;d spent nearly every Saturday morning for the past 20 years as part of my mother&#8217;s ongoing attempts to get my brother &amp; I out of the house &#8211; it was the very room where I&#8217;d first discovered poetry, seriously discovered it, just six years before.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Bialy was quieter than I expected, <span class=GramE>more low</span> key. But it was the fellow with whom he read, a Canadian grad student at </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Berkeley</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> born in the </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>U.K.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, with a deep voice that could have earned him a living introducing Masterpiece Theater episodes, David Bromige, who totally thrilled me. This was somebody <span class=GramE>whose</span> every word I wanted to read. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>On my way home, tho, David Perry caught the F Bus back to his home in the City while I proceeded to hitchhike back to my apartment in the Adams Point section of </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Oakland</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> when I got a ride from another attendee at the reading. This happened to be David Melnick, a UC grad student &amp;, by great co-incidence, a one-time roommate of the </span><st1:City><st1:place><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Chicago</span></i></st1:place></st1:City><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'> Review&#8217;s </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>Iven Lourie. We talked as fast as we could about all the different things we suddenly discovered we shared, beginning with a similar taste in poetics &#8211; at that moment, I think both of us would have suggested that Louis Zukofsky was our second favorite poet (I would have put Duncan first &amp; Melnick Ashbery). I&#8217;d never met another Zukofsky fan, as such, so this seemed amazing to me. Almost immediately, Melnick started to recruit me for a project that he had in mind. He wanted to create a revolution of sorts with the campus magazine at UC, <i style='mso-bidi-font-style:normal'>Occident, </i>in those days as sad an example of </span><st1:place><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType><span style='font-size:10.0pt;font-family:Arial;color:black'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Quietude</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> college journal as one might find. Specifically, David was interested in getting the work of the  </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>, in particular, David Shapiro, into the pages of this publication that had once been edited by the likes of Diane Wakoski, Robert Duncan &amp; Jack Spicer when they were students. My own interest was in promoting the next generation of the New American poets generally &#8211; this fellow Bromige seemed like a perfect example &#8211; and so I agreed to help out &#8211; I wouldn&#8217;t actually transfer to UC for another 18 months, but I started coming to editorial meetings &amp; nobody thought to throw me out. So <i style='mso-bidi-font-style:normal'>Occident </i>became the focal point, magazine-wise, for the next period of my life. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The immediate problem &#8211; challenge might be a better word &#8211; was that the executive editor of the journal, Lewis <span class=SpellE>Dolinsky</span>, was certain that bringing beatniks into the magazine was a career stopper for his editorial ambitions and so he appointed a new grad student, David McAleavey, poetry editor largely to serve as gatekeeper, hoping to ensure that the barbarians would stay on the right side of the wall. The problem with <span class=SpellE>Dolinsky&#8217;s</span> plan was that McAleavey wasn&#8217;t really a literary conservative &#8211; he was interested in the work of John Berryman, but mostly he was unread in the New Americans. So Melnick &amp; I simply shared our various enthusiasms with the man &#8211; in response, McAleavey actually taught me, finally, how to play at least a passable game of chess. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This project had all kinds of repercussions beyond simply getting the work of Bromige &amp; Shapiro into <i style='mso-bidi-font-style:normal'>Occident. </i>Melnick &amp; I used our mutual <i style='mso-bidi-font-style:normal'>Chicago Review </i>connections to propose a feature on new poets of the Bay Area, which eventually was published in 1970, David McAleavey would go on to publish both my first book, <i style='mso-bidi-font-style:normal'>Crow, </i>and Melnick&#8217;s, <i style='mso-bidi-font-style:normal'>Eclogs, </i>when he was with Ithaca House (McAleavey having transferred to Cornell to finish his PhD, which turned out to be on George Oppen), and Melnick went on to work for decades alongside Lewis <span class=SpellE>Dolinsky</span> on the editorial staff of the <i style='mso-bidi-font-style:normal'>San Francisco Chronicle </i>(both retired when it was taken over by the Hearst syndicate). The <i style='mso-bidi-font-style:normal'>Chicago Review </i>feature, which got the work of d <span class=SpellE>alexander</span>, Harvey Bialy, David Bromige, Ken Irby, Joanne Kyger, McAleavey, David Perry, George Stanley, Julia Vinograd &amp; Al Young into <i style='mso-bidi-font-style:normal'>that </i>publication, in turn is what set me up for the feature I would later edit for <i style='mso-bidi-font-style:normal'>Alcheringa, </i>which in turn led directly to <i style='mso-bidi-font-style:normal'>In the American Tree. </i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>That&#8217;s a lot to get out of a single act of hitch-hiking. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>But throughout this entire period, it was always evident that the committee structure of <i style='mso-bidi-font-style:normal'>Occident </i>was not going to lead to great literature, as such. The best journals have always reflected the aesthetic commitment of a single individual, or a cabal of like minded co-conspirators. I was, by now, both disinterested in academic rags &amp; had not yet fully found any alternatives that fit my own sense of what was needed. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>While I was at SF State in 1968, my linguistics professor, Ed van Aelstyn, one of the founding editors of <i style='mso-bidi-font-style:normal'>Coyote&#8217;s Journal, </i>persuaded me that I should solve this problem by doing my own publication. That sounded like a great idea, so I began to solicit work, drawing principally from my favorite contributors to <i style='mso-bidi-font- style:normal'>Caterpillar </i>&#8211; this was made easier one afternoon when d <span class=SpellE>alexander</span> showed up at my apartment just below the <span class=SpellE>Rad</span> Lab woods in the Berkeley Hills with his rolodex in hand. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>There was only one catch. I had no clue about how to publish a magazine <i style='mso-bidi-font-style:normal'>and </i>no cash whatsoever. My strategy for getting through college had been to get a student loan that would cover my tuition, books and rent for a semester &#8211; always taking care to pay the whole semester&#8217;s rent in advance &#8211; at which point I had so little cash that I always qualified for food stamps. Even if I&#8217;d understood what I was getting into, there was no cash around &#8211; I could go for a month on just $20 once I&#8217;d handled the rent, etc., so long as I had my &#8220;agricultural coupons.&#8221; <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>When, one day, I got a terrific unsolicited submission of work from David Gitin, somebody whom I really didn&#8217;t know &#8211; I had met him once or twice &amp; that was all &#8211; I knew I had to do something. So I typed up a few pages of work, hand drew a title logo &amp; took the first issue of <i style='mso-bidi-font-style:normal'>Tottel&#8217;s </i>to Krishna Copy on Telegraph Avenue. The first issue had work from David Bromige, Jerry Rothenberg, Robert Kelly, Daphne Marlatt, Robert David Cohen, David Perry &amp; somebody I&#8217;d just gotten to know, Robert Grenier. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>If you look at <a href="http://writing.upenn.edu/epc/authors/silliman/pub.html"><span style='color:black'>my bibliography</span></a> on the EPC website, you can trace this transition in interests &amp; focus. In 1969, I published work in <i style='mso-bidi-font-style:normal'>Poetry </i>and <i style='mso-bidi-font-style:normal'>Caterpillar, </i>and in <i style='mso-bidi-font-style:normal'>Arts in Society, </i>all essentially the outcome of attempts I&#8217;d made to do so over the two previous years. I also had work in the <i style='mso-bidi-font-style:normal'>South Florida Poetry Journal, </i>to which I&#8217;d been steered by <a href="http://web.uflib.ufl.edu/spec/manuscript/guides/Locke%20papers.htm"><span style='color:black'>Duane Locke</span></a>. Herbert <span class=SpellE>Kubly</span>, a writer of travel memoirs, also used my poem from <i style='mso-bidi-font-style:normal'>TriQuarterly </i>as the frontispiece to a book on </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Greece</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>. And I&#8217;d managed to get work into <i style='mso-bidi-font-style:normal'>Occident. <o:p></o:p></i></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The following year, I had work only in <i style='mso-bidi-font-style:normal'>Occident </i>and the first issue of <i style='mso-bidi-font-style:normal'>Tottels </i>(tho this is also the year when the <i style='mso-bidi-font-style:normal'>Chicago Review </i>feature came out). At this point, I was focused in on my own projects in writing, not concerned with publishing somewhere that might cause me to &#8220;get ahead.&#8221; <o:p></o:p></span></p>
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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_WidgetManager._RegisterWidget('_BlogView', new _WidgetInfo('Blog1', 'main', document.getElementById('Blog1'), {'cmtInteractionsEnabled': false, 'navMessage': 'Showing posts with label \x3cb\x3eMelnick\x3c/b\x3e. \x3ca href\x3d\x22https://ronsilliman.blogspot.com/\x22\x3eShow all posts\x3c/a\x3e', 'lightboxEnabled': true, 'lightboxModuleUrl': 'https://www.blogger.com/static/v1/jsbin/4152225668-lbx.js', 'lightboxCssUrl': 'https://www.blogger.com/static/v1/v-css/368954415-lightbox_bundle.css'}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text4', 'sidebar', document.getElementById('Text4'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextListView', new _WidgetInfo('TextList1', 'sidebar', document.getElementById('TextList1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_LinkListView', new _WidgetInfo('LinkList1', 'sidebar', document.getElementById('LinkList1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text1', 'sidebar', document.getElementById('Text1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text3', 'sidebar', document.getElementById('Text3'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_ImageView', new _WidgetInfo('Image1', 'sidebar', document.getElementById('Image1'), {'resize': false}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text2', 'sidebar', document.getElementById('Text2'), {}, 'displayModeFull'));
</script>
</body>
</html>