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'This new book by award-winning poet, Jill Jones, revels in language’s restlessness, enchantment and grit. Its voices are full of complexity and spontaneity, urgency and delight. Ash is Here, So are Stars contains an expanded version of the sequence ‘In Fire City’, which was shortlisted for the 2011 Whitmore Press Manuscript Prize. The ‘city’ in this sequence is made from textual and material intensities sampled from Australian cities, as well as traces of real and imagined cities that may resemble a London, LA or New York. The book also contains three longer poems that took shape when the poet lived and walked through areas of Sydney.' (Publisher's blurb)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Poems Coming in Fast : Jill Jones’ Ash Is Here, So Are Stars
2013
single work
review
— Appears in: Verity La , May 2013;
— Review of Ash Is Here, So are Stars 2012 selected work poetry -
Ash Is Here And So Are Stars by Jill Jones
2013
single work
review
— Appears in: Sotto , March 2013;
— Review of Ash Is Here, So are Stars 2012 selected work poetry -
[Review[ Ash Is Here, So Are Stars [and] Grit Salute
2013
single work
review
— Appears in: Southerly , vol. 73 no. 1 2013; (p. 247-250)
— Review of Ash Is Here, So are Stars 2012 selected work poetry ; Grit Salute 2012 selected work poetry -
Aspects of Australian Poetry in 2012
2013
single work
review
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 68-91)'T he act of reading for appraisal rather than pleasure is a privilege that brings me to a deepened understanding of the contemporary in Australian poetry, the way the past is being framed, its traditions, celebrities and enigmas washed up in new and hybrid appearances or redressed in more conventional, sometimes nimbus forms. Judith Wright wrote that the ‘place to find clues is not in the present, it lies in the past: a shallow past, as all immigrants to Australia know, and all of us are immigrants.’ The discipline of reading to filter such a range of voices underlines my foreignness, making reading akin to translation, whilst reciprocally inviting the reader of this essay to become a foreigner to my assumptions and conclusions.' (Introduction)
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A Frances Johnson Reviews Jill Jones
2013
single work
review
— Appears in: Cordite Poetry Review , 1 June no. 42 2013;
— Review of Ash Is Here, So are Stars 2012 selected work poetry
-
A Frances Johnson Reviews Jill Jones
2013
single work
review
— Appears in: Cordite Poetry Review , 1 June no. 42 2013;
— Review of Ash Is Here, So are Stars 2012 selected work poetry -
Best of 2012 : The Top 10 Poetic Works
2012
single work
review
— Appears in: Overland [Online] , December 2012;
— Review of The Jaguar's Dream : Translations, Adaptations, Versions, Extrapolations, Interpolations, Afters, Takes and Departures 2012 selected work poetry ; Ash Is Here, So are Stars 2012 selected work poetry ; The Family Idiot 2012 selected work poetry ; Autoethnographic 2012 selected work poetry ; 2012 and Other Poems 2012 selected work poetry ; Water Mirrors 2012 selected work poetry ; Ruby Moonlight 2012 single work novel ; Mogwie-Idan : Stories of the Land 2012 selected work poetry ; Marionette : Notes Toward the Life and Times of Miss Marion Davies 2012 selected work poetry -
[Review[ Ash Is Here, So Are Stars [and] Grit Salute
2013
single work
review
— Appears in: Southerly , vol. 73 no. 1 2013; (p. 247-250)
— Review of Ash Is Here, So are Stars 2012 selected work poetry ; Grit Salute 2012 selected work poetry -
Ash Is Here And So Are Stars by Jill Jones
2013
single work
review
— Appears in: Sotto , March 2013;
— Review of Ash Is Here, So are Stars 2012 selected work poetry -
Poems Coming in Fast : Jill Jones’ Ash Is Here, So Are Stars
2013
single work
review
— Appears in: Verity La , May 2013;
— Review of Ash Is Here, So are Stars 2012 selected work poetry -
Aspects of Australian Poetry in 2012
2013
single work
review
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 68-91)'T he act of reading for appraisal rather than pleasure is a privilege that brings me to a deepened understanding of the contemporary in Australian poetry, the way the past is being framed, its traditions, celebrities and enigmas washed up in new and hybrid appearances or redressed in more conventional, sometimes nimbus forms. Judith Wright wrote that the ‘place to find clues is not in the present, it lies in the past: a shallow past, as all immigrants to Australia know, and all of us are immigrants.’ The discipline of reading to filter such a range of voices underlines my foreignness, making reading akin to translation, whilst reciprocally inviting the reader of this essay to become a foreigner to my assumptions and conclusions.' (Introduction)
