Sarah Jones — poet, playwright and actress — came to the University two weeks ago to read (or alternately, perform) to an enthusiastic audience. Those who missed her show can check out her poetry book “your revolution.”
Named after the eponymous controversial poem, which was banned by the Federal Communications Commission (those interested in the history behind this decision should visit the Web site www.yourrevolutionisbanned.com), the book was published in 2000, and has a homemade, ‘zine-like’ aesthetic — complete with typewriter font. And there isn’t a bar code to be seen.
Just because “your revolution” received the most media attention, it doesn’t diminish the rest of the poems, which are potent and biting throughout. The subject matter frequently looks through a racial lens, which might have the tendency to alienate as many people as it attracts. But what remains without question is that, take it or leave it, this is the voice of Sarah Jones.
Racism is presented in her poetry using both historical and present-day contexts — the latter is equally prevalent but more subtle. This mingling of history is best shown in the hard-hitting “blood,” a six-page journey through material possessions, slavery and commodity.
Jones largely surrenders the division between subject and object in many of the pieces. This shows her ability not to remain inside any one box or lens and transcend topics or genres, whether the result is considered beautiful or ugly — or something else entirely.
Two striking but diametrically opposed examples of this are “model citizen” and “metaphorplay.”
The former could be qualified as raceless and genderless but imminently universal to fashion culture, as Jones begins: “104, my fever, my weight / I need you to eat me / I’m your tart / your pile of sex and bone / you want flesh?”
The latter is downright strident and sexy. One playful selection: “if my soul got ashy elbows / then your loving is a / cocoa butter stick / wrapped up in Jergens / slick with some baby oil / on the side.”
These poems can be read, but they really rock when spoken aloud. Reflecting her themes of choice, the line breaks frequently give the words an organic, hip-hop sensibility. A great, compact display of this kind of wordplay is Jones’ haiku “alliteration with N.”
Then of course, there’s “your revolution.” Since this is the one with the most name awareness, not much needs to be said. However, “notes on the fcc” makes a good precursor.
Poets with the honesty and awareness of Jones are rarities these days. Whereas award-winners such as Campbell McGrath are frequently considered “edgy” by academia’s standards, Jones’ writing shows that she’s a true activist.
Contact the Pulse reporter at [email protected].
ONLINE ONLY: Jones mixes art and activism in poetry book
Daily Emerald
November 7, 2002
More to Discover