Read Ebook {PDF EPUB} The Residual Years Poems 1934-1948 Including a Selection of Uncollected and Previously Unpublished P User Search limit reached - please wait a few minutes and try again. In order to protect Biblio.co.uk from unauthorized automated bot activity and allow our customers continual access to our services, we may limit the number of searches an individual can perform on the site in a given period of time. We try to be as generous as possible, but generally attempt to limit search frequency to that which would represent a typical human's interactions. If you are seeing this message, please wait a couple of minutes and try again. If you think that you've reached this page in error, please let us know at [email protected]. If you are an affiliate, and would like to integrate Biblio search results into your site, please contact [email protected] for information on accessing our inventory APIs. Can you guess which first edition cover the image above comes from? What was Dr. Seuss’s first published book? Take a stab at guessing and be entered to win a $50 Biblio gift certificate! Read the rules here. This website uses cookies. We use cookies to remember your preferences such as preferred shipping country and currency, to save items placed in your shopping cart, to track website visits referred from our advertising partners, and to analyze our website traffic. Privacy Details. ISBN 13: 9781574230550. The Residual Years: Poems, 1934-1948: Including a Selection of Uncollected and Previously Unpublished Poems. Everson, William. This specific ISBN edition is currently not available. William Everson (1912 1994) was many things a conscientious objector, a fine-press printer, a Dominican monk, and a much-loved teacher and literary personality. Above all else, he was a poet for many readers the celebrator of the spirit and landscape of the Pacific Northwest. His lifework in poetry is clearly divided into three chapters, a fact reflected in the three-volume arrangement of his Collected Poems. The first volume gathers his early work, poems exploring the violence inherent in the natural world and in the heart of man. The second collects the moving lyrics and narrative poems on Christian themes published under his Dominican name, Brother Antoninus. The final volume, comprising work written after his return to secular life, marks the poet's reconciliation with nature and his own place in it. But all of Everson's poetry, wrote Kenneth Rexroth, is a unity: "It is all concerned with the drama of his own self, rising and falling along the sine curve of life, everything [full] of a terrible beauty and pain. Life isn't like that to some people, and to them these poems will seem too strong a wine. But of course life is like that." "synopsis" may belong to another edition of this title. "William Everson vividly represented one of the great traditions of California poetry the prophetic visionary. His worldview was more religious, his temperament more mystical, and his voice more private than his spiritual and artistic model, Robinson Jeffers, and yet the two poets are recognizably kin. Both wrote out of the elemental confrontation of man and untamed nature, both [had] poetic visions that emerged from an almost primal existential struggle. [And both] are irreplaceable, the genuine article." --Dana Gioia. William Everson. William Everson (1912-1994) in 1992). Courtesy Literrata . William Everson (September 10, 1912 – June 3, 1994), also known as Brother Antoninus , was an American poet of the San Francisco Renaissance, who was also a literary critic and small press printer. Contents. Life [ edit | edit source ] Beginnings [ edit | edit source ] Everson was born in Sacramento, California. His Christian Scientist parents, both of them printers, raised him on a farm outside the small fruit- growing town of Selma, south of Fresno in California's San Joaquin Valley. He played football at Selma High School and attended Fresno State College (later California State University, Fresno). Poet and thinker [ edit | edit source ] Everson registered as an anarchist and a pacifist with his draft board, in compliance with the 1940 draft bill. In 1943, he was sent to a Civilian Public Service (CPS) work camp for conscientious objectors in Oregon. In Camp Angel at Waldport, Oregon, with other poets, artists and actors such as Kemper Nomland, William Eshelman, Kermit Sheets, Glen Coffield, George Woodcock and Kenneth Patchen, he founded a fine-arts program in which the CPS men staged plays and poetry-readings and learned the craft of fine printing. During his time as a conscientious objector, Everson completed The Residual Years , a volume of poems that launched him to national fame. Everson joined the Catholic Church in 1948 and soon became involved with the Catholic Worker Movement in Oakland, California. He took the name "Brother Antoninus" when he joined the Dominican Order in 1951 in Oakland. A colorful literary and counterculture figure, he was subsequently nicknamed the "Beat Friar." He left the Dominicans in 1969 to embrace a growing sexual awakening, and married a woman many years his junior. The 1974 poem Man-Fate explores this transformation. Everson was stricken by Parkinson's Disease in 1972, and its effects on him became a powerful element in his public readings. Everson was an influential member of the San Francisco Renaissance and worked closely with Kenneth Rexroth during this period of his life. Throughout his life, Everson was a devotee of the work and lifestyle of poet Robinson Jeffers. Much of his work as a critic was done on Jeffers's poetry. Everson spent most of his years living near the central California coast a few miles north of Santa Cruz in a cabin he dubbed "Kingfisher Flat". He was poet-in-residence at the University of California, Santa Cruz during the 1970s and 1980s. There he founded the Lime Kiln Press, a small press through which he printed highly sought-after fine-art editions of his own poetry, as well as of the works of other poets, including Robinson Jeffers and Walt Whitman. His papers are archived at the William Andrews Clark Memorial Library at UCLA [1] and The Bancroft Library at UC Berkeley [2] . Black Sparrow Press released a three-volume series of the collected poems of Everson, the last volume of which was published in 2000. Publications [ edit | edit source ] Poetry [ edit | edit source ] These Are the Ravens . San Leandro, CA: Greater West, 1935. San Joaquin . Los Angeles, CA: Ward Ritchie, 1939. The Masculine Dead: Poems, 1938-1940 . J.A. Decker, 1942. War Elegies . Waldport, OR: Untide, 1944. The Waldport Poems . Waldport, OR: Untide, 1944. The Residual Years: Poems, 1940-41 . Waldport, OR: Untide, 1944 revised & expanded as The Residual Years: Poems, 1934-1948 . New York: New Directions, 1948 enlarged edition (introduction by Kenneth Rexroth) published as The Residual Years: Poems, 1934-48: The pre-Catholic poetry of Brother Antoninus . New York: New Directions, 1968. reprinted with uncollected and previously unpublished poems, Santa Rosa, CA: Black Sparrow, 1997. reprinted with uncollected and previously unpublished poems, 1998. as "Brother Antoninus" [ edit | edit source ] At the Edge . Albertus Magnus, 1958. A Fragment for the Birth of God . Albertus Magnus, 1958. An Age Insurgent . Blackfriars, 1959. The Crooked Lines of God: Poems, 1949-1954 . Detroit, MI: University of Detroit Press, 1959. The Hazards of Holiness: Poems, 1957-1960 , Doubleday, 1962. The Poet Is Dead: A memorial for Robinson Jeffers , Auerhahn, 1964. The Rose of Solitude , Oyez, 1964 revised and expanded, Garden City, NY: Doubleday, 1967. Non-fiction [ edit | edit source ] Autobiography and interviews [ edit | edit source ] If I Speak Truth: An Inter View-ing with Brother Antoninus (With J. Burns). Goliards Press, 1968. Naked Heart: Talking on poetry, mysticism, and the erotic . Albuquerque, NM: University of New Mexico, College of Arts and Sciences, 1992. On Printing (edited by Peter Rutledge). San Francisco: Book Club of California, 1992. Prodigious Thrust (1996). Santa Rosa, CA: Black Sparrow Press, 1996. William Everson: The Light the Shadow Casts, Five interviews with William Everson plus corresponding poems . Berkeley, CA: New Earth Publications, 1996. Literary criticism [ edit | edit source ] Robinson Jeffers: Fragments of an older fury (as "Brother Antoninus"). Berkeley, CA: Oyez, 1968. Archetype West: The Pacific coast as a literary region . Berkeley, CA: Oyez, 1974. Dionysus and the Beat: Four letters on the archetype . Santa Barbara, CA: Black Sparrow, 1977. Earth Poetry: Selected essays and interviews, 1950-1977 (edited by Lee Gelpy). Oyez, 1980. The Excesses of God: Robinson Jeffers as a religious figure (foreword by Albert Gelpi). Stanford, California: Stanford University Press, 1988. Religious writing (as "Brother Antoninus") [ edit | edit source ] Novum Psalterium Pii xii (liturgy and ritual). Los Angeles, CA: 1955. Friar among Savages: Father Luis Cancer (With Brother Kurt). Benzinger, 1958. The Dominican Brother: Province of the west . Dominican Vocation Office, 1965. Collected editions [ edit | edit source ] Dark God of Eros: A William Everson reader, (edited by Albert Gelpi). Berkeley, CA: Heyday, 2003. Edited [ edit | edit source ] Robinson Jeffers, Cawdor and Medea . New York: New Directions, 1970. Robinson Jeffers, Californians . Cayucos, 1971. Robinson Jeffers, The Alpine Christ . Cayucos, 1973. Robinson Jeffers, Tragedy Has Obligations . Lime Kiln Press, 1973. Robinson Jeffers, Brides of the South Wind . Cayucos, 1974. Robinson Jeffers, Granite and Cypress . Lime Kiln Press, 1975. Robinson Jeffers, The Double Axe, and other poems . New York: Liveright, 1977. Letters [ edit | edit source ] Take Hold Upon the Future: Letters on writers and writing, 1938-1946 (with Lawrence Clark Powell; edited by William R. Eshelman). Metuchen, NJ: Scarecrow), 1994. Except where noted, bibliographical information courtesy the Poetry Foundation . [3] William Everson. William Everson was a poet, critic, and globally renowned handset printer. Born in Sacramento, California to Christian Scientist parents, Everson declared himself an agnostic when he was a teenager. During the Depression, Everson attended Fresno State University but dropped out to become a poet after discovering the poetry of Robinson Jeffers. “It was an intellectual awakening and a religious conversion in one … Jeffers showed me God,” Everson once noted. His early work focused on farming, the change of seasons, and a theme that would endure throughout his entire writing career, his love of the California landscape. His first collections, These Are the Ravens, San Joaquin , and The Masculine Dead brought him enthusiastic—though not widespread—acclaim, along with the classification of nature poet. Everson came to national attention when he was identified with the Beat poets in the 1950s. A deeply serious and religious writer, Everson spent 18 years as a Dominican monk and published many of his works under his name in religion, Brother Antoninus. He was variously classified as a nature poet, an erotic poet, and a religious poet, but, contended Dictionary of Literary Biography contributor James A. Powell, “above all else, Everson is an autobiographical, even a confessional poet. Throughout his career…he has made his personal life the predominant subject of his poetry.” Although he was considered a regional poet before his association with the Beats, critic Donna Nance pointed out that this is “too narrow a characterization of Everson’s early work. For the poems are neither pastoral nor idyllic in the general manner of nature poetry, but rather infused with a somber awareness of the violence inherent in the natural world—and by extension, in man’s collective nature.” Nance suggested that the predominant theme of Everson’s early poetry is actually “the problem of violence and man’s susceptibility to it.” Man’s struggle with violence suddenly became a very timely theme as the United States entered World War II. Everson chose conscientious objector status and was sent to work at lumber camps in the Northwest. It was during this time that Everson first began handset printing. The poetry he wrote while stationed there reflected the dilemmas he faced as a pacifist in a society at war. Much of the verse Everson wrote at this time would later be collected in The Residual Years , including his long poem “Chronicle of Division.” This multi-part poem details the disintegration of the author’s first marriage due to the long separation required by his wartime service. These poems were enthusiastically received among pacifists and those already familiar with Everson, but did little to advance his reputation further. When released from Civilian Public Service in June, 1946, Everson moved to Sebastapol, California, where he met poet and artist Mary Fabilli. Their love provided the inspiration for Everson’s next work, The Blowing of the Seed . In November the couple moved to Berkeley, where they were quickly accepted into the circle of poets surrounding Kenneth Rexroth in San Francisco; they married the following year. It was also in 1947 that Everson first received widespread critical attention, spurred by New Direction’s reprinting of The Residual Years , complete with these controversial dust jacket notes by Kenneth Rexroth: “This kind of poetry may outrage academic circles where an emasculated and hallucinated imitation of John Donne is still considered chic; but others, who have been waiting for modern poetry to stop clearing its throat and stammering, should be delighted.” In Nance’s estimation, “the statement amounted to a literary throwing down of the gauntlet. At once defensive and aggressive, it challenged contemporary academic critics to accept Everson on his own terms—terms that in their insistence on the primacy of personal statement, Rexroth was later to argue, represented ‘a different definition of poetic integrity’” than that generally agreed upon by the academic critics of the 1950s. Everson’s life and work underwent radical changes in the next few years as a result of a profound religious experience. Mary Fabilli was a lapsed Catholic in the process of returning to the church. Everson sometimes accompanied his wife to Mass. On Christmas Eve in 1948, he had an intense religious experience while in church; by July of the following year, Everson had completed his course of religious instruction and been baptized. Ironically, however, because he and Fabilli had both been previously married and divorced, the Roman Catholic church did not recognize their union as valid. Accordingly, they separated. After working for a year at the Catholic Worker House in the slums of Oakland, California, Everson entered the Dominican order as a monk, taking the name Brother Antoninus. James A. Powell believed that “the poetry Everson composed during the first five years following his conversion…represents very possibly his best work.” Most of this verse was later collected in The Crooked Lines of God and The Veritable Years . Turning to the narrative style favored by Robinson Jeffers, Everson rewrote many famous Bible stories and Christian legends. Remaining true to one of his most constant themes—his love of the California landscape—he set these stories not in Palestine, but in California. In using Jeffers’s techniques, Powell assessed, Everson not only lived up to the standard set by the older poet, he actually “bests his master.” Besides being “consistently powerful in its utterance,” this poetry is “striking both for its departures from and for its continuities with his previous practice…The intense demands on his poetic craft [Everson] must have felt as he returned to confront Jeffers on the master’s own ground, the necessary encounter with the simple concision good narrative requires, the inspiration he drew from the stories themselves, the personal (and revelatory) significance they had taken on for him, and the respect for their simplicities his reverence for them exacted—all coincided to produce verse of a graceful tension, a fervent constraint, an earnest, highly-wrought yet subdued music. These are poems of quite remarkable force,” concluded Powell. Such enthusiasm was not universal, however. While acknowledging that “Everson … wrote some of the first poetry I ever truthfully liked,” James Dickey recalled in his book Babel to Byzantium that on reading The Veritable Years he was unfavorably “struck … by the author’s humorless, even owlish striving after self-knowledge and certainty, his intense and bitter inadequacy and frustration.” Dickey went on to characterize The Crooked Lines of God as “page after page of not-very-good, learned dry sermonizing which in several places leans toward an attitude which I cannot help believing is somewhat self-righteous and even self-congratulatory.” Kenneth Rexroth’s appraisal of The Crooked Lines of God differed sharply from Dickey’s. Always a staunch supporter of Everson, he called it in his book Assays “a collection of poems of stunning impact, utterly unlike anything else being written nowadays.” Like Powell, he judged Everson superior even to Jeffers, writing, “As far as his verse is concerned, Brother Antoninus is more or less a disciple of Robinson Jeffers, but I think he has made a harder and more honest instrument of it than his master.” During the mid-1950, Everson’s literary output dropped considerably. The demands of monastic life were partly responsible, but a fuller explanation for this dry period lies in the conflict Everson was then experiencing between his poetic and religious vocations. He finally broke through his writer’s block in 1957 with “River-Root,” a 30-page poem which, due to its explicit eroticism, was not published until 1976. Powell described the poem: “Bathing all nature in an aura of universal phallicism, ‘River-Root’ not only presents in close, loving and extensive physical detail the lengthy and inventive coupling of its properly married, Catholic, and procreatively minded central characters but also attempts to link their love-making on the one hand to a universal natural eroticism and, on the other, through the poem’s depiction of sexual intercourse as a mode of contemplation, to God … The poem … bespeaks the psychic trouble the requirement of celibacy would arouse in Everson throughout his monastic career.” It was also in 1957 that Kenneth Rexroth’s now-famous “San Francisco Letter” appeared in the Evergreen Review . In it, Rexroth announced the importance of the San Francisco Renaissance poets (who would come to be known as “the Beats”) to the literary world, including Everson among them. Following the publication of the letter, Everson received substantial attention nationwide, not only from those in the literary world, but from the popular press as well. The apparent incongruity of a Catholic monk being identified with the supposedly hedonistic, amoral, Beat movement delighted reporters, who promptly tagged Everson “the Beat friar.” Suddenly he was in great demand for poetry readings across the country and in Europe; he continued to devote considerable time to these until the late 1960s. Throughout the late 1950s and ‘60s, Everson’s poetry continued to suggest a difficult struggle taking place within him. Most of the works collected in The Hazards of Holiness “seem to represent moments of crisis in Everson’s spiritual autobiography,” noted Powell. While many of them are quite explicitly erotic, others tell of a vehement quest for “an untormented celibacy.” The Rose of Solitude , published in 1960, depicts Everson’s long, platonic—but sometimes tortured with passion—relationship with a woman named Rose Tunnland. The poet’s language had always been notably rich, but became even more so at this point in his career. This development displeased critic William Dickey, who complained in the Hudson Review : “The language of this book [ The Rose of Solitude ] is, like its substance, overblown. Antoninus makes a simple equation between suffering and unintelligibility: the greater the pain, the more tortured the syntax. In pursuit of this relationship he arrives at distortions which can best be called grotesque.” Yet Samuel Charters wrote in his Some Poems/Poets: Studies in American Underground Poetry since 1945 : “Antoninus, in a period when the poetic idiom has become dry and understated, has an almost 17th century richness of language and expression…Antoninus’s language is so intense, so vivid, that the poems can almost be read in clusters of words and phrases.” William Everson took the first vows of priesthood in 1964; in 1965, he met Susanna Rickson and began to compose a long poem to her. On December 7, 1969, he gave the first public reading of this poem, entitled “Tendril in the Mesh.” As he concluded the reading, he threw off his monk’s habit and left the stage, announcing his intention to return to secular life. One week later, he and Susanna Rickson were married. “Tendril in the Mesh” and other poems written in 1970 and 1971 were printed in what Powell deemed one of Everson’s “best volumes, as well as one of his richest,” Man-Fate: The Swan-Song of Brother Antoninus . Most of the book explains the poet’s passion for his new wife and how it led him to renounce his vows; the remaining verse expresses the difficulties encountered in his adjustment to a secular way of living. After leaving the monastery, Everson turned his energies toward critical writing, printing, teaching, and editing the works of Robinson Jeffers. While the body of his work expressed a sharp conflict between body and spirit, many of his later writings, collected in The Masks of Drought , bespeak a “reconciliation with the world of nature and his own place in it,” noted Powell. As always, the poems are autobiographical, concerning the poet’s relations with his wife, his advancing age, and his continuing love of the land. Remarking on Everson’s dedication to intensely personal themes, Kenneth Rexroth wrote in his introduction to The Residual Years : “Everson has been accused of self-dramatization. Justly. All of his poetry, that under the name of Brother Antoninus, too, is concerned with the drama of his own self, rising and falling along the sine curve of life, from comedy to tragedy and back again, never quite going under, never quite escaping for good into transcendence…Everything is larger than life with a terrible beauty and pain. Life isn’t like that to some people and to them these poems will seem too strong a wine. But of course life is like that.” In 1971, Everson joined the faculty at the University of California–Santa Cruz. There he founded the Lime Kiln Press and taught a popular course, “Birth of a Poet.” He continued to write on Jeffers and published the critical studies Archetype West: The Pacific Coast as a Literary Region and Robinson Jeffers: Fragments of an Older Fury, which Dana Gioia deemed “lyric in the purest sense. Even when it presents its critical case in organized, intellectual terms,” Gioia continued, “it moves with the passionate energy and personal stamp of a lyric poem. When Everson finally switches to poetry in the volume’s final section, the transition is almost imperceptible. His language seems a change only in degree, not in kind. The whole book–not merely its concluding verses–constitutes an elegy on Jeffers. It is unlikely that a finer memorial poem will ever be written than Everson’s rhapsodic prose.” Everson was named Artist of the Year in 1991 by the Santa Cruz County Arts Commission. His many other honors and awards included a Guggenheim Fellowship, a nomination for the Pulitzer Prize, grants from the National Endowment for the Arts, and the PEN Center USA West Body of Work Award. He was at work on an epic biographical poem, “Dust Shall Be the Serpent’s Food” at the time of his death, from Parkinson’s disease, on June 3, 1994. He was 81. Everson William. Prodigious Thrust : A Memoir of Catholic Conversion. Everson, William. Published by Godine Publisher, David R., 1996. Used - Softcover Condition: Good. Condition: Good. New Ed. Shows some signs of wear, and may have some markings on the inside. More buying choices from other sellers on AbeBooks. The Art of W. C. Fields. William K Everson. Published by Bonanza Books, 1967. Used - Hardcover Condition: VERY GOOD. Hardcover. Condition: VERY GOOD. Light rubbing wear to cover, spine and page edges. Very minimal writing or notations in margins not affecting the text. Possible clean ex-library copy, with their stickers and or stamp(s). More buying choices from other sellers on AbeBooks. The Complete Films Of Laurel & Hardy (Film Books) Everson, William K. Published by Citadel, 2000. Used - Softcover Condition: Acceptable. Paperback. Condition: Acceptable. Text block foxing. Previous owner's name written inside book. Open Books is a nonprofit social venture that provides literacy experiences for thousands of readers each year through inspiring programs and creative capitalization of books. More buying choices from other sellers on AbeBooks. Everson Man-Fate (New Directions Book) Everson, William. Published by New Directions Books, 1974. Used - Softcover Condition: Good. Paperback. Condition: Good. Connecting readers with great books since 1972. Used books may not include companion materials, some shelf wear, may contain highlighting/notes, may not include cdrom or access codes. Customer service is our top priority!. More buying choices from other sellers on AbeBooks. The Western: From Silents to the Seventies. George N. Fenin; William Keith Everson. Published by Grossman. Used - Hardcover Condition: Good. Hardcover. Condition: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ThriftBooks: Read More, Spend Less. The Western: From Silents to the Seventies. George N. Fenin; William Keith Everson. Published by Grossman. Used - Hardcover Condition: Good. Hardcover. Condition: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ThriftBooks: Read More, Spend Less. A Pictorial History of the Western Film. William K. Everson. Published by Lyle Stuart, 1969. Used - Softcover Condition: GOOD. Paperback. Condition: GOOD. Spine creases, wear to binding and pages from reading. May contain limited notes, underlining or highlighting that does affect the text. Possible ex library copy, will have the markings and stickers associated from the library. Accessories such as CD, codes, toys, may not be included. More buying choices from other sellers on AbeBooks. The Western: From Silents to the Seventies. William Keith Everson,George N. Fenin. Published by Grossman, 1973. Used - Hardcover Condition: Good. Hardcover. Condition: Good. Connecting readers with great books since 1972. Used books may not include companion materials, some shelf wear, may contain highlighting/notes, may not include cdrom or access codes. Customer service is our top priority!.