What do you think?
Rate this book
leadbelly
“It is exhilarating to be invited into a world so large and muscular, so rooted in history, a world where so much is at stake.”—Brigit Pegeen Kelly, National Poetry Series judge A biography in poems, leadbelly examines the life and times of the legendary blues musician from a variety of intimate perspectives and using a range of innovative poetic forms. A collage of song, culture, and circumstance, alive and speaking. Tyehimba Jess ’ numerous awards include fellowships from the NEA and the Fine Arts Work Center in Provincetown. A native of Detroit, he is a proud alumnus of the Chicago Green Mill Slam teams and Cave Canem. His first nonfiction book is African American Celebrating our Achievements, Contributions, and Enduring Legacy (Citadel Press, 2003).
128 pages, Paperback
First published October 1, 2005
13 people are currently reading
428 people want to read
About the author
Tyehimba Jess
21 books78 followersTyehimba Jess is the author of leadbelly and the Pulitzer Prize–winning Olio. 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's second book, Olio, won the 2017 Pulitzer Prize in Poetry, the 2017 Anisfield-Wolf Book Award in Poetry, and the 2017 Book Award for Poetry from the Society of Midland Authors. It was also a finalist for the 2016 National Books Critics Circle Award, 2017 PEN/Jean Stein Book Award, and the 2017 Kingsley Tufts Poetry Award. Library Journal called it a "daring collection, which blends forthright, musically acute language with portraiture" and Publishers Weekly, in a starred review, called it "Encyclopedic, ingenious, and abundant" and selected it as one of the five best poetry books of 2016.
Jess, a Cave Canem and NYU alumnus, 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 the Poetry and Fiction Editor of the African American Review and is Associate Professor of English at College of Staten Island.
Jess' fiction and poetry have appeared in anthologies such as Angles of Ascent: A Norton Anthology of Contemporary African American Poetry, Beyond The Frontier: African American Poetry for the Twenty-First Century, Role Call: A Generational Anthology of Social and Political Black Literature and Art, Bum Rush the Page: A Def Poetry Jam, Power Lines: Ten Years of Poetry from Chicago's Guild Complex, Slam: The Art of Performance Poetry. His poetry has appeared in journals such as American Poetry Review, Brilliant Corners, Ploughshares, Obsidian III: Literature in the African Diaspora, Warpland: A Journal of Black Literature and Ideas, Mosaic, American Poetry Review, Indiana Review, Nashville Review and 580 Split.
Jess, a Cave Canem and NYU alumnus, 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 the Poetry and Fiction Editor of the African American Review and is Associate Professor of English at College of Staten Island.
Jess' fiction and poetry have appeared in anthologies such as Angles of Ascent: A Norton Anthology of Contemporary African American Poetry, Beyond The Frontier: African American Poetry for the Twenty-First Century, Role Call: A Generational Anthology of Social and Political Black Literature and Art, Bum Rush the Page: A Def Poetry Jam, Power Lines: Ten Years of Poetry from Chicago's Guild Complex, Slam: The Art of Performance Poetry. His poetry has appeared in journals such as American Poetry Review, Brilliant Corners, Ploughshares, Obsidian III: Literature in the African Diaspora, Warpland: A Journal of Black Literature and Ideas, Mosaic, American Poetry Review, Indiana Review, Nashville Review and 580 Split.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 40 reviews
April 13, 2013
Wow! I was totally entranced by this book. I've read poetry collections that are biographies, but this was the most successful. This poet did a good job of revealing what was at stake in leadbelly's life and who sacrificed and in what ways. The timeline in the back was a useful tool. I felt totally connected to leadbelly's life thanks to these beautiful poems. The contrapuntals were so on point!
September 10, 2007
This is more than blues poetry; this is not a just a journey through a time or a history or a biography; this is not, to use Audre Lorde's word, a "biomythography;" this is a muscle singing, a boot thump, a whiskey jar. These poems ache with beauty, they sweat in the shade, they vibrate. You do not need to know anything of the blues to read this book, nor do you need to know who Leadbelly was, or his songs. Jess' voice will still grab you and strangle. Although, if you do know those things, you might gasp less. You might enjoy the fingers on your throat. From "leadbelly: runagate:" "i am stepping toward dry land, the dance of ankle chains, where i scream history into song that works itself into blood, sweat, memory."
September 18, 2007
music on the page . . .
June 6, 2008
I loved the consistency of the voice and the research that supports it. My musician husband (who in the late 50's fell in love with 12-string guitars due to Leadbelly) appreciated this book as well. He's not into most contemporary poetry either, rhythm yes.
August 19, 2010
Absolutely excellent. A wonderful addition to the long history of blues poetry; a splendid history of the twentieth century; one of the great biographies in verse.
May 8, 2020
Like his second collection, Tyehimba Jess's first collection is a verse biography on a key figure of blues. Jess's use of lyrical poetry mixed with collages of song, letters, and narrative really make this collection incredibly emotionally rich and convincing. Furthermore, Jess makes the collection effectively argue for Leadbelly's continued relevance.
May 24, 2015
a daring feat
June 18, 2022
"oh lawdy jesus god did you ever carry a cotton sack i mean did you ever feel the bud in the palm of your hand i mean did you ever lift a bale like you lifted that cross jesus and did it weigh as much as a cotton field and when you show me the holes in your hands and feet can i show you the blisters in my hands and feet and can we size up the lashes on our backs" (Leadbelly Sings to His #1 Crew, 56).
I'm back in TN, so that means I'm back at McKay's—which, in turn, means copious poetry finds.
I prefer Olio, but Tyehimba Jess still weaves a potent magic through verse here.
Truly an excavation of Black history with unparalleled sonic excellence.
"i was a girl once, / and then i was grown, / unfolding the difference between / what you know and what you hear" (Martha Promise: Grown Summer, 46).
I'm back in TN, so that means I'm back at McKay's—which, in turn, means copious poetry finds.
I prefer Olio, but Tyehimba Jess still weaves a potent magic through verse here.
Truly an excavation of Black history with unparalleled sonic excellence.
"i was a girl once, / and then i was grown, / unfolding the difference between / what you know and what you hear" (Martha Promise: Grown Summer, 46).
June 3, 2017
turn loose my man.
February 26, 2023
SO GOOD. Some poems would be great to teach on. My favorite was Mistress Stella Speaks. Would recommend to anyone who enjoys poetry, prose, & books like Their Eyes Were Watching God.
March 2, 2014
I truly appreciate poetry books that reach far outside the self as *Leadbelly* does. Here, Leadbelly’s life is brought to poetic verse, and as a result, a world is brought into the reader’s mind. I especially enjoyed the figurative language in this collection. For example, notice the originality with which the poet expresses a father’s sense of purpose upon holding his newborn son: “When I first hold him, a sun bronzed seed spring from black Cherokee womb, I know for the first time a weight that lifts me high above soil.” Great stuff.
July 24, 2015
Meaningful poetry of the sort I can get. A set of short poems in various styles written from the point of view of various figures in Leadbelly's life, including Leadbelly himself, his guitar, and even his music. It helps a lot to know about his life already, but there is a timeline/bio in the back
July 2, 2017
There's the old saying that writing about music is like dancing about architecture, and if that's true then Tyehimba Jess can dance. The rhythm and flow of his writing often felt like he was putting music in my head, and the only thing I could do about that was to read on, and to listen to Lead Belly's music when I wasn't reading.
September 5, 2007
Leadbelly is a great songwriter, not a poet. Lorrine Niedecker is a poet.
Read
May 11, 2012He's CC; we do no wrong to the page!
May 25, 2009
Fascinating blues poems that really capture Leadbelly's life through its style and metaphor. Really enjoyed this.
July 20, 2010
Poetry + the Blues. Loved it.
October 12, 2015
Best book I have read all year! Every poem I immediately wanted to share with half the people I know. Poetry, history, creative nonfiction, music--all good things.
December 13, 2013
A Masterpiece.
September 7, 2013
Looking at a life through various voices.
July 4, 2017
After reading his Pulitzer Prize winning second book, Olio, I immediately sought and found Jess’ first collection of poems Leadbelly. It is not the tour de force that Olio is, but very few books are, but it is nonetheless a damned good, even extraordinary first collection that deservedly won its own share of prizes. It has a tighter historical focus, a single man’s life and career in the context of his times—though still seen from a variety of perspectives: self, wife, acquaintances, business partners, rivals, others.
The poems provide a gritty, context- rich investigation of the singer-songwriter’s life—a life made, if not troubled, than certainly more troubled, by racism in the Jim Crow South. Born in Caddo County, Louisiana, Leadbelly died at age 60 in Bellevue Hospital in New York City in 1949. In between was a brilliant, scruffy musical career and a life of love, lust and juke joint fights, four of which resulted in jail time, one for murder, two for assault, one for a stabbing. The jail time was spent on chain gangs three times, and because the victims were black, not white, he was not lynched or executed and could work and flatter his way back to freedom.
In prison he was visited by Alan Lomax, who, along with the singer’s parents and loved ones, are significant characters here. Lomax recorded Leadbelly and had a hand in one or two of his prison releases. Lomax became his manager and Leadbelly toured prisons and the south with Lomax looking for folk and blues music performers to add to Lomax’s archives of American folk music. Both men used the other but Lomax did better financially with the using and the relationship was an uneasy one.
Through his storied career Leadbelly recorded many classic songs—“Goodnight Irene,” “Rock Island Line,” “ Bourgeois Blues,” “Cotton Fields” — some of which he wrote and many of which he adapted. In 1950, a year or less after his death, The Weavers had a number one hit with his version of “Goodnight, Irene.”
There is much history that Jess adeptly unpacks and shares—early 20th century sharecropping, (white) southern prison work camps—with the former and the latter when combined with Jim Crow constituting a reinvention of slavery, extending its life another four score and ten, and the folk music business of the 30s, 40s and 50s, The poems have the feel and soul of great blues and folk music and the power of a well-struck sledgehammer on stone with attendant sparks and fury and sweat.
here i am. tumbled
in the prison, swept
by the river,
bent by the burden,
swallowed in the gut,
branded by the crime,
lifted by the music
in my blood,
in my memory,
in my name.
The poems provide a gritty, context- rich investigation of the singer-songwriter’s life—a life made, if not troubled, than certainly more troubled, by racism in the Jim Crow South. Born in Caddo County, Louisiana, Leadbelly died at age 60 in Bellevue Hospital in New York City in 1949. In between was a brilliant, scruffy musical career and a life of love, lust and juke joint fights, four of which resulted in jail time, one for murder, two for assault, one for a stabbing. The jail time was spent on chain gangs three times, and because the victims were black, not white, he was not lynched or executed and could work and flatter his way back to freedom.
In prison he was visited by Alan Lomax, who, along with the singer’s parents and loved ones, are significant characters here. Lomax recorded Leadbelly and had a hand in one or two of his prison releases. Lomax became his manager and Leadbelly toured prisons and the south with Lomax looking for folk and blues music performers to add to Lomax’s archives of American folk music. Both men used the other but Lomax did better financially with the using and the relationship was an uneasy one.
Through his storied career Leadbelly recorded many classic songs—“Goodnight Irene,” “Rock Island Line,” “ Bourgeois Blues,” “Cotton Fields” — some of which he wrote and many of which he adapted. In 1950, a year or less after his death, The Weavers had a number one hit with his version of “Goodnight, Irene.”
There is much history that Jess adeptly unpacks and shares—early 20th century sharecropping, (white) southern prison work camps—with the former and the latter when combined with Jim Crow constituting a reinvention of slavery, extending its life another four score and ten, and the folk music business of the 30s, 40s and 50s, The poems have the feel and soul of great blues and folk music and the power of a well-struck sledgehammer on stone with attendant sparks and fury and sweat.
here i am. tumbled
in the prison, swept
by the river,
bent by the burden,
swallowed in the gut,
branded by the crime,
lifted by the music
in my blood,
in my memory,
in my name.
February 7, 2017
Leadbelly
B. 1888 Caddo County, LA
D. 1949 New York City
I realize I'm way behind the curve when it comes to poetry. However, I was not familiar with prose poetry in biographical form and wanted to find out what it was like. I also wanted to get a feel for this poets style being that he was just recently nominated for two rather significant awards for his work: National Book Critics Circle Award and a PEN America Literary Award for his new book, Olio.
This, as I mentioned, is a biographical work done in experimental prose poetry and it's nearly flawless. The subject is a fascinating character, Huddie William Ledbetter, born 1888, an amazing blues/folk artist, with quite an interesting life. I listened to some of his remarkable recordings and watched video footage online while reading this. He was the inspiration of so many famous artists who were captivated by his crystal clear, simple folk/bluesy voice. George Harrison once said, no Leadybelly, no Beatles. So there.
This book has all sorts of poetry styles and also includes letters written by various people in Leadbelly's life. All I need to say is this man lived one colorful life. Just too much to mention here just read the book.
I'm indebted to this author for re-introducing me to this fascinating artist. And, for revealing himself as an amazing poet and one certainly to be reckoned with.
4.5 stars
B. 1888 Caddo County, LA
D. 1949 New York City
I realize I'm way behind the curve when it comes to poetry. However, I was not familiar with prose poetry in biographical form and wanted to find out what it was like. I also wanted to get a feel for this poets style being that he was just recently nominated for two rather significant awards for his work: National Book Critics Circle Award and a PEN America Literary Award for his new book, Olio.
This, as I mentioned, is a biographical work done in experimental prose poetry and it's nearly flawless. The subject is a fascinating character, Huddie William Ledbetter, born 1888, an amazing blues/folk artist, with quite an interesting life. I listened to some of his remarkable recordings and watched video footage online while reading this. He was the inspiration of so many famous artists who were captivated by his crystal clear, simple folk/bluesy voice. George Harrison once said, no Leadybelly, no Beatles. So there.
This book has all sorts of poetry styles and also includes letters written by various people in Leadbelly's life. All I need to say is this man lived one colorful life. Just too much to mention here just read the book.
I'm indebted to this author for re-introducing me to this fascinating artist. And, for revealing himself as an amazing poet and one certainly to be reckoned with.
4.5 stars
January 7, 2021
I highly recommend this work. Jess's use of historical personae for these poems is so incredibly rich, textured, well-researched, and humane. We are presented with many imperfect and sometimes harmful people who are usually in conflict with each other and a world that is often unjust but are all trying to eke their way. There are also just astounding facts about lead belly's life presented here with an eye not just for beauty but also how ugly our world can be. As wonderful as the characters and narrative is, though, I truly found the language and imagery stunning. There are many seemingly simple but incredibly gorgeous metaphors, images, and similes especially surrounding descriptions of playing the guitar and the environments in which Lead Belly played guitar.
Any conversation or review of this collection would would be, in my opinion, grossly incomplete if it didn't mention the books exploration of racism of the time generally, and specifically the deft unpacking of minstrel shows, minstreldom, and minsterlization. This is done, in part, by telling the remarkable true story of Lead Bellly getting out from under the thumb of Alan Lomax, winning a court case to reclaim his intellectual property, and eventually performing his music under his own terms. And, of course, I would be remiss if I didn't mention Jess's sophisticated use of contrapuntal poems to bring vastly different characters into conversation in fascinating ways.
This book is a joy and I will return to it.
Any conversation or review of this collection would would be, in my opinion, grossly incomplete if it didn't mention the books exploration of racism of the time generally, and specifically the deft unpacking of minstrel shows, minstreldom, and minsterlization. This is done, in part, by telling the remarkable true story of Lead Bellly getting out from under the thumb of Alan Lomax, winning a court case to reclaim his intellectual property, and eventually performing his music under his own terms. And, of course, I would be remiss if I didn't mention Jess's sophisticated use of contrapuntal poems to bring vastly different characters into conversation in fascinating ways.
This book is a joy and I will return to it.
June 20, 2025
This collection is of historical poetry is the most experimental I've ever read, for better or worse. The creativity sometimes worked and other times it was confusing. If I hadn't watched a documentary about Leadbelly prior to reading this collection I would've been so lost because there aren't character introductions, which bleeds more into the general confusion.
On the flip side, the author does a phenomenal job of providing multiple perspectives. It develops several tensions within characters and between characters. The personification of Leadbelly's guitar, Stella, is fantastic throughout.
On the flip side, the author does a phenomenal job of providing multiple perspectives. It develops several tensions within characters and between characters. The personification of Leadbelly's guitar, Stella, is fantastic throughout.
November 19, 2022
Jess is such an amazing poet. His talk at the ath and his reading - unparalleled. Even just reading his work, months later, blows me away. It makes me want to read more poetry and I am not a poetry person at all. The depth of his historical research is so impressive. This is the kind of work I absolutely love.
I could've finished this book a week and a half ago but - I really just said "oh one more section? I'll do it another time", got sucked into overtime/life in general, and then tonight I discovered I only had one poem left and I gave up halfway through it. Well, at least it's finished
I could've finished this book a week and a half ago but - I really just said "oh one more section? I'll do it another time", got sucked into overtime/life in general, and then tonight I discovered I only had one poem left and I gave up halfway through it. Well, at least it's finished
September 6, 2021
Oh, I liked this book a lot and am glad I read it. It’s not the tour de force that his next book was. But it’s impressive. He tells Leadbelly’s story through his eyes, through the eyes of people who loved him and took advantage of him. And in telling the story he tells us who we are as a people and as a nation. It’s not a pretty sight - but there is strength that climbs from it.
November 10, 2024
OLIO was my favorite work of the year when I read it. LEADBELLY is its forerunner. LEADBELLY is Jess's first collection of poetry, and it makes me think of the difference between Milton's SAMSON AGONISTES and PARADISE LOST. Both are great, one reaches for historic superlatives.
Still, if you have read OLIO, treat yourself to LEADBELLY until another Jess book is released.
Still, if you have read OLIO, treat yourself to LEADBELLY until another Jess book is released.
April 30, 2025
An unequivocal masterwork. What is has to say about one man at the fountainhead of what would become a historical revelation in music has both integrity and mythical lyricism, but even in craft alone, it's life changing. This was one of several classic I read for Remix: Black Literature and Black Music, and the one which left the greatest impression on me. Total awe.
February 5, 2021
A beautiful and powerful memorial to the life of Huddie Leadbetter that gives poetic voice to Huddie, his wife Martha, his guitar Stella, John Lomax, wardens, prison mates, fans, and those that find themselves on the wrong end of Huddie’s knife.
September 2, 2018
This is the best thing I’ve read in years. You can feel struggle , conflict and the rhythm and passion of the blues in every poem. My copy is going to get worn out and dog-eared from re-reading.
Displaying 1 - 30 of 40 reviews