Olio
Tyehimba Jess
(Author)
Description
Winner of the 2017 Pulitzer Prize in Poetry Winner of the 2017 Anisfield-Wolf Book Award in Poetry Winner of the 2017 Book Award from the Society of Midland Authors for Poetry 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 thatI'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' first book of poetry, leadbelly, was a winner of the 2004 National Poetry Series. Jess, a Cave Canem and NYU Alumni, 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. Jess is an Associate Professor of English at College of Staten Island.
Product Details
Price
$25.00
$23.25
Publisher
Wave Books
Publish Date
April 05, 2016
Pages
256
Dimensions
8.0 X 9.9 X 0.7 inches | 1.3 pounds
Language
English
Type
Paperback
EAN/UPC
9781940696201
BISAC Categories:
Earn by promoting books
Earn money by sharing your favorite books through our Affiliate program.
Become an affiliate
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.
Reviews
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
--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
