William Oliver Everson, born on September 10, 1912, in Sacramento, California, navigated a life marked by personal and artistic exploration. His journey was profoundly shaped by his complex family dynamics and a series of transformative experiences that fueled his poetic voice. Throughout his lifetime, Everson's work was influenced by his upbringing, relationships, and evolving beliefs.

Early Life and Family Dynamics

As the second of three children, William was the first son of Lewis and Francelia Everson. This role within the family carried significant weight for him, as he often attributed an Oedipal complex as central to his psychological makeup and artistic expression. His mother, significantly younger than his atheist father, left the Roman Catholic Church to marry—a decision that later resonated with Everson when he embraced Catholicism. Everson's father, originally from Norway, had a colorful career as a printer and musician before settling in Selma, California, where he established a family business. Amidst these contrasting parental figures, young Everson found himself seeking his mother's emotional support while feeling intimidated and alienated by his father.

Introduction to Poetry

Everson's foray into poetry began in high school, where he penned love poems to his sweetheart and contributed to his school's yearbook, The Magnet. Although he enrolled in Fresno State College post-graduation, he swiftly withdrew, disillusioned by the experience. However, during his brief stint, he published "The Gypsy Dance" in the college magazine, drawing inspiration from Edgar Allan Poe's work. After a period of working in a cannery and joining the Civilian Conservation Corps, Everson returned to Fresno State, where he discovered Robinson Jeffers' poetry—a revelation that set him on the path to becoming the first poet of the San Joaquin Valley.

Publishing and Personal Life

In 1935, while living with his parents, Everson published his debut poetry collection, These Are the Ravens. This marked the beginning of a prolific career that extended beyond regional recognition. In 1938, he married Edwa Poulson, his high school love, and they settled on a farm near Selma. While content in domestic life, Everson's poetry during this period reflected the looming threat of World War II, as seen in his collections San Joaquin and The Masculine Dead. The death of his mother in 1940 and his conscientious objector status during the war further shaped his poetic themes.

War and Artistic Evolution

As a conscientious objector, Everson was confined to a Civilian Public Service camp in Oregon, where he played a pivotal role in founding the Waldport School of Fine Arts. This period was a crucible for his artistic development and laid the groundwork for the San Francisco Renaissance. During his time in the camp, Everson experienced personal upheaval, including the death of his father and a divorce from Edwa, who had fallen in love with another man, severing his ties to his home and family.

Love, Faith, and Transformation

Released from the CPS camp in 1946, Everson met Mary Fabilli, an artist and devout Catholic. They married in 1948, a significant year for Everson both personally and professionally, as his first nationally recognized poetry collection, The Residual Years, was published, and he converted to Catholicism. Despite this, the Catholic Church annulled their marriage due to their previous unions, leading to their separation in 1949. Everson's conversion was soon followed by a Guggenheim Fellowship, which supported his writing endeavors briefly before financial constraints led him to a Catholic Worker House in Oakland.

Monastic Life and Conflicting Desires

In 1951, Everson joined the Dominican Order, adopting the name Brother Antoninus. His poetry during this period, including works like The Crooked Lines of God and The...