DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
Making Hay
Bethany W Pope
Sometimes birds got caught up by the baler.
Those sharp, hooked teeth drew them into the chute
and crushed them. My numbed hands would brush their wings
and their blood would seep into my rope-burns.
I tried not to think about it. After
my shift, I’d lave brown water from the pump
and soap myself up to my thin forearms,
and I tried not to think about stopped songs
or yellow beaks snapped in two, revealing
flat and pale tongues. Distraction was deadly;
I knew a girl my age who daydreamed — like
I did — but her timing was wrong. Her shoe
got caught in a trailing chain. She was pulled
under the flatbed truck we piled the bales
on. Her ankle bone gleamed white through the red
lips of the wound. After a while, she lost
the foot. I tried not to think about her
screaming, how it sounded like mangled song.
New releases from Old Spot, Chris Marksberry, and Clementine Lovell
by Rosie Jackson
In verse and polemic, the bard points out that he is a poet and musician, not a political party
WILL STONE is frustrated by a performance that chooses to garble the lyrics and drown the songs in reverb


