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Olio, by Tyehimba Jess
PDF Download Olio, by Tyehimba Jess
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-WINNER OF 2017 PULITZER PRIZE IN POETRY-WINNER OF ANISFIELD-WOLF AWARD IN POETRY -WINNER OF SOCIETY OF MIDLAND AUTHORS AWARD IN POETRY-BLACK CAUCUS OF AMERICAN LIBRARY ASSOCIATION OUTSTANDING CONTRIBUTION TO PUBLISHING CITATION -2016 National Book Critics Circle Award finalist for poetry
-2017 PEN/Jean Stein Book Award finalist
-2017 Kingsley Tufts Poetry Award finalist
-Named a top poetry book of spring 2016 by Library Journal
Part fact, part fiction, Tyehimba Jess's much anticipated second book weaves sonnet, song, and narrative to examine the lives of mostly unrecorded African American performers directly before and after the Civil War up to World War I. Olio is an effort to understand how they met, resisted, complicated, co-opted, and sometimes defeated attempts to minstrelize them.
So, while I lead this choir, I still find that
I'm being led...I'm a missionary
mending my faith in the midst of this flock...
I toil in their fields of praise. When folks see
these freedmen stand and sing, they hear their God
speak in tongues. These nine dark mouths sing shelter;
they echo a hymn's haven from slavery's weather.
Detroit native Tyehimba Jess is a Cave Canem and NYU Alumni, and has received fellowships from the Whiting Foundation, National Endowment for the Arts, Illinois Arts Council, and the Provincetown Fine Arts Work Center. Jess is also a veteran of the 2000 and 2001 Green Mill Poetry Slam Team. He exhibited his poetry at the 2011 TEDxNashville Conference, and received a 2016 Lannan Literary Award. Jess is an Associate Professor of English at College of Staten Island.
- Sales Rank: #47160 in Books
- Published on: 2016-04-05
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 8.50" w x .50" l, .0 pounds
- Binding: Paperback
- 256 pages
Review
It's something people who care for the music, or for African American cultural history, will read and reread, whether or not they notice its ambitious expansions of what has been possible for the contemporary poem.
-- Stephen Burt, Academy of American Poets
"Olio" is one of the most inventive, intensive poetic undertakings of the past decade...
-- Michael Andor Brodeur, Boston Globe
Encyclopedic, ingenious, and abundant, this outsized second volume from Jess celebrates the works and lives of African-American musicians, artists, and orators who predated the Harlem Renaissance.
—Publishers Weekly, Starred Review
It's been a decade since Tyehimba Jess's debut, and this sprawling, extraordinary book shows he's used his time well.
—Craig Morgan Teicher, NPR
This daring collection, which blends forthright, musically acute language with portraiture (e.g., poet Paul Laurence Dunbar, the Fisk Jubilee Singers, Scott Joplin, and Booker T. Washington) to capture the African American experience from the Civil War to World War I. An impressive follow-up to leadbelly.
—Barbara Hoffert, Library Journal, Starred Review
Olio is one of the most inventive, intensive poetic undertakings of the past decade…Through photos, drawings, interviews, foldouts, tables, facts, fictions, and yes, so many strong poems … Olio assembles and raises the voices of an essential chorus: “Listen to how we sing while we/ promises unto ourselves not to die.”
—Boston Globe
The content of this book really is a remarkable one...Tyehimba Jess gathers the histories of the lives—untold lives of many of the African-American artists who sort of built the blues and jazz and the sound that...we consider quintessentially American. And he's written these poems as history in a variety of voices, in a chorus.
—All Things Considered
Once I closed these pages I came to the conclusion that Tyehimba is our Langston—not necessarily in terms of style or lyrical sensibility, but in terms of proficiency and historical impact. It is the rigor with which this book archives history, offers new narratives and context for the “characters” it contains that leads me to the conclusion that readers a century from now will count this among the treasures that are emblematic of this era.
—African Voices
If you’ve been wanting to get into poetry but haven’t been willing to give up the power, characters, and length of a novel, Olio is the book for you.
—Lit Hub
A tremendous, and tremendously accessible, book of poetry.
—Brooklyn Magazine
I don't want to overstate the case, but there is no way around it: Tyehimba Jess's Olio is a tour de force.
—On the Seawall
Tyehimba Jess’s second book, Olio, is a book without rules, blues on the page. It weaves new and reimagined facts with poetry, prose, and biographies of first-generation freed slaves who performed in minstrel shows. A spellbinding and lyrical melange of verse, Olio resembles its namesake—a minstrel show’s hodgepodge variety act that later evolved into Vaudeville, “the heart of American show business.”
—Tupelo Quarterly
Historical personae has long proven to be a useful protest tool against oppression, and is, for this reason, not new to African-American poetry. Olio, though, is so ambitious, so relentless in its pursuit of the antebellum realities that remade our country, with its entrance into the canon we are jolted awake by a hundred alarms, a century’s racket.
—Oxford American
[T]he variety that Tyehimba Jess packs into Olio amply supports his goals of celebrating African-American musicial genius and bearing "wit-ness" (in the dual sense of affirming truth and acknowledging intelligence and agency) to "first generation freed voices," especially those of never recorded nineteenth-century artists. At 235 pages, Olio is so plentiful it is impossible to read in one sitting. Not only does its format invite browsing, but Jess encourages readers to "weave your own chosen way between the voices."
—Hudson Review
This 21st century hymnal of black evolutionary poetry, this almanac, this theatrical melange of miraculous meta-memory. Tyehimba Jess is inventive, prophetic, wondrous. He writes unflinchingly into the historical clefs of blackface, black sound, human sensibility. After the last poem is read we have no idea how long we've been on our knees.
—Nikky Finney
Encyclopedic, ingenious, and abundant, this outsized second volume from Jess celebrates the works and lives of African-American musicians, artists, and orators who predated the Harlem Renaissance.
―Publishers Weekly, Starred Review
It's been a decade since Tyehimba Jess's debut, and this sprawling, extraordinary book shows he's used his time well.
―Craig Morgan Teicher, NPR
This daring collection, which blends forthright, musically acute language with portraiture (e.g., poet Paul Laurence Dunbar, the Fisk Jubilee Singers, Scott Joplin, and Booker T. Washington) to capture the African American experience from the Civil War to World War I. An impressive follow-up to leadbelly.
―Barbara Hoffert, Library Journal, Starred Review
Olio is one of the most inventive, intensive poetic undertakings of the past decade…Through photos, drawings, interviews, foldouts, tables, facts, fictions, and yes, so many strong poems … Olio assembles and raises the voices of an essential chorus: “Listen to how we sing while we/ promises unto ourselves not to die.”
—Boston Globe
The content of this book really is a remarkable one...Tyehimba Jess gathers the histories of the lives―untold lives of many of the African-American artists who sort of built the blues and jazz and the sound that...we consider quintessentially American. And he's written these poems as history in a variety of voices, in a chorus.
—All Things Considered
Once I closed these pages I came to the conclusion that Tyehimba is our Langston―not necessarily in terms of style or lyrical sensibility, but in terms of proficiency and historical impact. It is the rigor with which this book archives history, offers new narratives and context for the “characters” it contains that leads me to the conclusion that readers a century from now will count this among the treasures that are emblematic of this era.
—African Voices
If you’ve been wanting to get into poetry but haven’t been willing to give up the power, characters, and length of a novel, Olio is the book for you.
—Lit Hub
A tremendous, and tremendously accessible, book of poetry.
—Brooklyn Magazine
I don't want to overstate the case, but there is no way around it: Tyehimba Jess's Olio is a tour de force.
—On the Seawall
Tyehimba Jess’s second book, Olio, is a book without rules, blues on the page. It weaves new and reimagined facts with poetry, prose, and biographies of first-generation freed slaves who performed in minstrel shows. A spellbinding and lyrical melange of verse, Olio resembles its namesake―a minstrel show’s hodgepodge variety act that later evolved into Vaudeville, “the heart of American show business.”
—Tupelo Quarterly
Historical personae has long proven to be a useful protest tool against oppression, and is, for this reason, not new to African-American poetry. Olio, though, is so ambitious, so relentless in its pursuit of the antebellum realities that remade our country, with its entrance into the canon we are jolted awake by a hundred alarms, a century’s racket.
—Oxford American
[T]he variety that Tyehimba Jess packs into Olio amply supports his goals of celebrating African-American musicial genius and bearing "wit-ness" (in the dual sense of affirming truth and acknowledging intelligence and agency) to "first generation freed voices," especially those of never recorded nineteenth-century artists. At 235 pages, Olio is so plentiful it is impossible to read in one sitting. Not only does its format invite browsing, but Jess encourages readers to "weave your own chosen way between the voices."
—Hudson Review
This 21st century hymnal of black evolutionary poetry, this almanac, this theatrical melange of miraculous meta-memory. Tyehimba Jess is inventive, prophetic, wondrous. He writes unflinchingly into the historical clefs of blackface, black sound, human sensibility. After the last poem is read we have no idea how long we've been on our knees.
―Nikky Finney
About the Author
Detroit native Tyehimba Jess’ first book of poetry, leadbelly, was a winner of the 2004 National Poetry Series. Library Journal and Black Issues Book Review both named it one of the “Best Poetry Books of 2005.” Jess, a Cave Canem and NYU Alumni, received a 2004 Literature Fellowship from the National Endowment for the Arts, and was a 2004-2005 Winter Fellow at the Provincetown Fine Arts Work Center. Jess is also a veteran of the 2000 and 2001 Green Mill Poetry Slam Team, and won a 2000 – 2001 Illinois Arts Council Fellowship in Poetry, the 2001 Chicago Sun-Times Poetry Award, and a 2006 Whiting Fellowship. He exhibited his poetry at the 2011 TEDxNashville Conference. Jess is an Associate Professor of English at College of Staten Island.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Olio is a masterpiece!!! Do not miss anything Tyehimba Jess writes! WOW!
By Meg Tuite
Tyehimba Jess has created a masterpiece of historical literature through syncopation and musicality of language that blows the mind! The greatest musicians and vaudevillians: slaves in early 19th century-early 20th century: John William "Blind" Boone, Henry "Box" Brown, Paul Laurence Dunbar, The Fisk Jublilee Singers, Ernest Hogan, Sissieretta Jones, Scott Joplin, Millie and Christine McKoy, Booker T. Washington (quote: "He who dances language note for note on the industrial soapbox. He who, even still, feels a twist in his dome for his folk who still till fields of poems."), "Blind" Tom Wiggins, Bert Williams and George Walker, Wildfire, or Edmonia Lewis.
Olio quote: "Fix your eyes on the flex of these first-generation-freed voices: They coalesce in counterpoint, name nemeses, summon tongue to wit-ness. Weave your own chosen way between these voices....OLIO."
The treasure is on each and every tongue that Jess envelops with his fierce beauty that transcends and encompasses all: poetry, music, philosophy, history, dialect, conversation, lists: those lynched by the 100 thousands in the Southern states between 1882-1930 and the reasons given for the black lynchings.
"I ain't bending over no piano like a plow on a sharecropper's piece."
"–I'll just play the notes inside my skull alone in the dark where they roam around loose. 'Cause playing like a slave, I'd just step myself straight into a hangman's noose."
On Sissieretta Jones, Jess writes: "See, Sissie would know how to let folks into one mask and out through another. She'd even raise a toast to the mask, jokin about whether folk–black and white–really believed that the opera was wearing her as a mask, or if it just tickled them to see her puttin on that white mask of Vivaldi. Was it her voice or someone else's? they'd seem to ask. Well, it was all her. Every note, in whiteface or blackface or in just plain old American, went straight down to her bones. That's what I heard when I truly listened, anyway. She'd pour those opera songs all over her body and then dress herself in the church frock of hymns. She told me one time, that in order to hear her true voice, she'd had to ask herself about her own masks. What kind of mask might I have on? she said. Because let me tell you, most don't even know they're wearing a mask. You've got to know which masks, how many masks you're wearing before you can put it down and see your true self. Those that do, they know just how to slide in and out of it, how to make the world spin inside it and out of it. How to spread their song all over that mask and make it one with the world, no matter how thick or thin the truth in that song might be."
Heartwrenching brilliance and there is no outside these people. Jess brings every one to life! This is a book to be read aloud! Again and again and again! (and photos, fold-outs, illustrations: the structure of "Olio" is its own composition of a musical score: exquisite in every way!
The ache and reach from the past wrenches the gut as all the masks of today continue to kill and maim under the guise of badges, self-defense, etc. and there's no missing the seething brutality of pulverized flesh in every fisted lie!
If you only read one book this year, make it this one! "Olio" is a phenomenon! This is an epic. Thank you, Tyehimba Jess! Not enough stars for this one!
1 of 1 people found the following review helpful.
Olio Sings
By wordybirdy
'Olio" by Tyehimba Jess is a remarkable flip on John Berryman's "Dream Songs". It evokes power, empathy and a strong sense of the current racial inequalities in our society. The poems are beautiful. The publisher once again has produced a tangible piece of art with pieces of the poem that can be folded out, ripped out and turned in different directions.
2 of 5 people found the following review helpful.
Everybody should read this
By Devi Sen Laskar
What a great book!
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