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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' 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.
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Product details

  • Paperback | 256 pages
  • 204 x 254 x 17.78mm | 596g
  • Wave Books
  • Seattle, United States
  • English
  • 1940696208
  • 9781940696201
  • 334,540

Review quote

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
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About Tyehimba Jess

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.
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Table of contents

IntroductionJubilee ProclamationSubmission to Crisis MagazineJubilee Blues********Blind Tom plays for Confederate Troops, 1863General James Bethune and John Bethune Introduce Blind TomWhat Marked Tom?Mark Twain v. Blind TomBlind Tom Plays for a Packed House, 1873Millie McKoy & Christine McKoy Recall Meeting Blind Tom, 1877What the Wind, Rain and Thunder Said to TomGeneral Bethune v. W.C. Handy, 1885Charity on Blind TomEliza Bethune v. Charity Wiggins General Bethune on Blind TomDuet: Blind Boone meets Blind Tom, 1889Blind Tom plays on . . .One Body, Two Graves: Brooklyn/Georgia********Jubilee: Isaac Dickerson (1852-1900)Interview: Della Marie JenkinsJubilee: Eliza Walker (1857-?)********Mille and Christine McKoyMillie-Christine On DisplayMillie-Christine Are KidnappedMillie-Christine's Love StoryMillie Christine Buy Landstep right up . . .Millie Christine's Syncopated Star of Sonnets********Jubilee: Ben Holmes (1846-1875)Interview: Sam PattersonJubilee: Minnie Tate (1857-?)********Mirror of Slavery/Mirror ChicaneryPre/face: Berryman/BrownFreedsong: Dream GoneFreedsong: Dream DawnFreedsong: So Long! (Duet)Freed Song: Dream LongFreedsong: Of 1850Freedsong: Dream WrongedFreedsong: Dream of My SonFreedsong: Dream StrongFreedsong: of 1876Freedsong: Dream Song********Jubilee: George White (1838-1895)Interview: Blind BooneJubilee: Maggie Porter (1853-1942)********Apparition in CRoots of BooneApparition in E?Blind Boone's BlessingApparition in FBlind Boone's VisionApparitions in F?Blind Boone's Escape Apparition in GBlind Boone's RageApparition in B?Boone's Pianola BluesApparition in C********Jubilee: Greene Evans (1848-1914)Interview: Carmen LeDieiuxJubilee: Ella Shepard (1853-1942)********Bert Williams/George Walker ParadoxThe Witmark Amateur Minstrel Guide All Coons Look Alike to Me! 1Coons Songs Must Go!/ Coon Songs Go On . . . 1All Coons Look Alike to Me! 2Coons Songs Must Go!/ Coon Songs Go On . . . 2All Coons Look Alike to Me! 3Coons Songs Must Go!/ Coon Songs Go On . . . 3Dunbar-Booker Double ShovelTable 2-3/Table2-5********Jubilee: Thomas Rutling (1855?-1915)Interview: Lottie Joplin, Pt. 1Jubilee: Jennie Jackson (1852-1910)********WPA Interview: E. ShoeMy Name is Sissieretta JonesWPA Interview: E. ShoeO Patria MiaWPA Interview: E. Shoead libitumWPA Interview: E. Shoeforte/graziosoWPA Interview: E. Shoe********Jubilee: Indigo (Choral)Interview: Lottie Joplin, Pt. 2Berlin v. Joplin: Alexander's Real Slow DragJubilee Mission********Alabaster HandsForever FreeHagar in the WildernessHiawathaDying CleopatraIndian CombatMinnehahaColonel Robert Gould ShawProvenanceWe've sung each free day like it's salvation (choral)*******Last Letter Home******AppendixPresenting: The Dunbar/Washington Double Shovel Presenting: The Bert Williams/George Walker ParadoxPresenting: H. "Box" Brown Dream on . . . DuetNotes on Jubilee and Syncopated SonnetsThe Trotter InterviewsTimelineBibliographyAcknowledgmentsThanks
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Rating details

277 ratings
4.61 out of 5 stars
5 74% (204)
4 17% (46)
3 8% (22)
2 1% (4)
1 0% (1)
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