Jill Jones has been widely published in most of the leading literary periodicals in Australia, as well as in a number of print and on-line magazines in New Zealand, Canada, the USA, India and Britain. She has worked in a number of different fields, including legal publishing, journalism, government information, public policy and arts administration. She has been the recipient of two Australia Council grants and has also been involved in literary publishing. She was a co-founder, with Laurin McKinnon, of Black Wattle Press, and she has been a regular reviewer of books, theatre, film and music for a number of periodicals.
Jones has played an active part in Australian literary life. She was one of six poets who contributed to Parallel Visions : Parallel Poetry, a booklet of poems written about paintings in the Art Gallery of NSW and performed as part of the Parallel Visions exhibition in March 2003. She was a co-convenor of 'The Whole Voice', the second national conference on poetry, held in Sydney in 1995. She and her fellow convenors were guest editors of an issue of Southerly (vol. 57, no.1 Autumn 1997) in which proceedings from this conference were published. With Michael Farrell she co-edited a selection of Australian poetry on sex for an edition of Slope magazine.She served as a judge for the 1995 NSW Premier's Literary Awards, the inaugural Broadway Poetry Prize in 2001 and the Roland Robinson Prize in 2002. She was a member of the Sydney Writers' Festival committee in 1996.
Jones has been involved in collaborative projects which include the DiVerse series of readings at galleries and museums in Sydney, and c-side, set up by poet James Stuart to provide a virtual and physical space for artistic performance and interaction.
Jones has written in the genres of poetry, short stories, cultural and literary criticism and women's studies. She maintains a weblog at: http://rubystreet.blogspot.com/
'The Beautiful Anxiety continually breaks across boundaries of the intimate and the global in an invigorating and unsettling mix of materialist and speculative writing on the interconnectedness of life amidst the environmental and cultural turmoil of the 21st century. The poems are in turn provocative, tender, impatient, playful, and swerve through the world, awake to its lostness as well as its ‘flesh and spark’.' (Publisher's blurb)