I like how he makes up his own portmanteaus. “Pellables” (6) makes me think of pebbles and syllables. “Churchicle” (14) is, I think, a cross between church and cubicle. “Transblucency,” is translucency mixed with blues, which might actually be the name of a song, at least it appears in a list of some kind (25). And “Sleephearts” for sleeping sweethearts (49). I listened to Brathwaite read “Negus,” and found it very powerful the way he repeats “it… it… it… it is not… it is not… it is not enough… it is not enough to ____. In many ways, his poetry resembles other poetry that I have read, except for his unconventional use of punctuation: periods and forward slashes divide words into two separate meanings. I also like how he blends together words that do not quite rhyme, but sound similar. For instance, “status quo” and “status crows” (50). His unique font, Sycorax, does not, at first, seem to fit the material. It reminds me of old-school computer font, which makes more sense later, when he talks about a computer in “Letter Sycorax.” It is interesting that Sycorax is Caliban’s mother in Shakespeare’s “The Tempest,” and he even mentions Prospero on page 96.