Jill Jones

Out Of The Box: Contemporary Australian gay and lesbian poets edited by Michael Farrell and Jill Jones

April 2010, no 320

Does the title of this anthology, heralded by its editors as the first collection of Australian gay/lesbian/queer poetry, refer to the myth of Pandora’s pithos? Hesiod’s version of the story, which sees Pandora as the unleasher of all manner of evils on the (‘rational’/patriarchal) world, has been interrogated by feminist scholars who see Pandora in an older incarnation of ‘gift-giver’, bestower of plenitude, crosser of boundaries. Or does ‘Out of the Box’ have a more colloquial sense – ‘exceptional’, ‘surprising’? Whatever the reasoning behind the title, Michael Farrell and Jill Jones have made choices which should provoke debate (among other things) about gay and lesbian identity and community, and about the relationship between poet and reader.

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Who Can Say When Her Time Is?

by Jill Jones •

May 2008, no. 301

This is a song of the white.
The multitude or the pattern.
The rose or the wind.
A woman who begins,
a woman who disappears.
a woman drinking blossom’s shadow.

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The New Aesthetics

by Jill Jones •

August 2002, no. 243

You’ve heard this story before –
becoming unravelled in Europe
or assaulted in some roadhouse
but bold as nipples and booted.
Recovering with bourbon and red wine
in a soft room with a German
dissolving somehow at right angles
and falling off the frequent flyers list.

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Candy by Luke Davies

by Jill Jones •

December 1996–January 1997, no. 187

Jill Jones reviews ‘Candy’ by Luke Davies

Not another novel about heroin, you might ask. You might as well say, not another novel about addiction to anything, including love or death. Luke Davies’ novel risks being seen to jump on the bandwagon of relevance, or grunge, or whatever turns you off. But this a good book, a true book, which left me feeling sad for some days, not a bad thing in these times of numbing busyness in which many of us seem to be trapped.

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Letters to the Editor – October 1995

by Australian Book Review •

October 1995, no. 175

From Paul Salzman

Dear Editor,

It is a shame that allegations of plagiarism in The Hand That Signed The Paper were trivialised into questions of literary echoes that would certainly not have worried any serious member of that curious entity, the literary community. As someone deeply troubled by the anti-Semitism manifested in the novel, I have been interested to know where the Ukrainian material that ‘Demidenko’ defended as family history may have come from. Perhaps we will never know, but now it seems that the plagiarism issue was really something of a red herring, distracting attention from what was most disturbing about the novel and its attendant prizes. I cannot see that ‘postmodemism’, under any definition, could be blamed for this situation, given that the Miles Franklin judgment is based, I believe, on a bankrupt and outmoded humanism that sees abstract moral truth in literary works without having any sophisticated regard for politics or history.

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