Savage Pageant

In her poetry book Savage Pageant, Jessica Q. Stark, in her discourse, referred to frequent existential turns and the stream of everyday life in its creative relationship with metaphors, or the transformative signs which reduced the cosmic scene in other wide spaces beyond reality, that we can recognize the big imaginary animals, the plants in their other reflections in the space of poems or the other decentralized postmodern world. Therefore, the speaker wanted to go beyond stable events and signs toward their first strangeness and possible cognitive transformations of the frequent signs in consciousness and subconsciousness, and this reminds me of Julia Kristeva's concept of semantic potential, that Jessica drew new metaphorical scenes beyond the virgin, traditional sounds, feelings and actions.

Furthermore, she reused numbers; to reproduce the dream of the flesh, the ancient tragedies within the paradoxical picture of the moment of presence. Also, she referred more than once to the dream of disintegration or the dream of absence within the poetic mediations of Being and the metaphorical space which contained the tragedies of the past that affected the state of physical self-actualization in both the presence and the future.

In particular, Jessica returned to Shakespeare's The Tempest in creative intertextuality, that she captured the virginity of the terrifying moment when the mythical character Ariel led them to be in delayed absence, also disassembled ship's body, in order to restore balance. Thus Jessica recreated Ariel in another imaginary space and context which was associated with metaphorical liberation beyond memory or reality; It also indicated the renewal of the scene in other repeated moments of tragedies and moments of spectral joy of the ancient sounds together.

in this context, I remembered the artistic image of Ariel according to the painter William Hamilton, that Ariel appeared as a beautiful fantastic woman who was high between heaven and earth, which was in a harmonious state of Jessica's perspective about the new human position beyond the spectral another drowning.

Moreover, she returned to some of the surreal dense images in the daily scenes and the semiotic transformation they generated, or the new hyperreal facts, especially when she combined heaven and earth in one poetic state through the signs of bees dust, and the imaginary savage animal.

Finally, it is an experimental poetry book that revealed the wide figural margins of reality, existential turns or creative turns beyond human borders and their relative context.