Like most, I first saw Lucas Jones on Instagram when his ‘I Will Teach My Boys To Be Dangerous Men’ crossed my feed. I was stunned by the raw, courageous and beautiful text and the genuine performance, and sticked around for more. ‘I’m Sorry For That Thing That Ruined Your Life’ found me exactly when I needed it most. I was delighted that he is releasing a book, which is naturally preferable to the screen - however much I do think that his masterful delivery is a crucial part of the appeal of his poetry.
I have to admit, the book itself struck me as very Instagram-first. Perhaps it is the absence of his signature pacing, which one can sort of replicate in your head as you read - but it is so elemental to his work that I found a piece missing when I read texts I have not seen performed by him before.
It left me feeling a bit dissatisfied, because extremely high value works sit around others that plainly feel like fillers. Some seemed like they’re trying to hit a theme just for the sake of it. Unlike comparable length George The Poet - Search Party, it does not leave you with as many ‘holy f*ck* moments where you ruminate over the same page over and over nearly as often. It is something you can easily finish in a day, read back to back.
BUT. But. His poems like ‘I’d Never Be a Nazi,’ the above mentioned ‘I Will Teach My Boys…,’ ‘I’m Doing This Thing Thing Where I’m Pretending To Be Nice To Women’… they’re absolute masterpieces, and true works of modern art. They’re miles ahead of everyone else, and any single one of them would make me buy the book even if it were to just sit on the shelf.
I think he is fundamentally a still an artist in fast development, still very rapidly evolving. His recent non-poetry statements on Epstein, on the murders of Alex Pretti and Nicole Good, the Gaza genocide and the Bondi beach terrorism attack, and his other contemporary work such as ‘I’d Never Be a Nazi’… they’re the top of the genre. Truly powerful, clearly genuine, and promoting real social change. They’re exactly the type of rightful anger that best artist of all historical eras showcase: effectively already a modern museum pieces from inception. Representing the hurt and sorrow of the people awake to the injustices, and speaking truth to power. The personal growth still clearly occurring is not a bug - it’s a feature of a human with immense talent, still breaking out of the shell.
My huge hope for L Jones going forward is that he will lean more into himself, and that the raw creations will take over fully. I truly believe we’re witnessing one of the early-century’s greatest, developing in real time. Figuring himself out, testing things, finding what works and to what extent he can be himself with the audience. My answer would be: as fully as he is willing to be, please.
This is not state-of-the-art. But there are many, many diamonds in it, and he is shaping create decades of fascinating, truly important and transformative work.
And after all, the best way to ensure he is able to do so is to support his independent projects, so he does not have to bend to commercial interests in any way.