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<front>
<journal-meta>
<journal-id journal-id-type="issn">2979-2762</journal-id>
<journal-title-group>
<journal-title>The Hythe Review</journal-title>
</journal-title-group>
<issn pub-type="epub">2979-2762</issn>
<publisher>
<publisher-name>Open Library of Humanities</publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id pub-id-type="doi">10.16995/thr.29426</article-id>
<article-categories>
<subj-group>
<subject>Poetry</subject>
</subj-group>
</article-categories>
<title-group>
<article-title>Excerpt from <italic>Bright Machine</italic></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname>Lubrin</surname>
<given-names>Canisia</given-names>
</name>
<email>canisial@proton.me</email>
</contrib>
</contrib-group>
<pub-date publication-format="electronic" date-type="pub" iso-8601-date="2026-06-02">
<day>02</day>
<month>06</month>
<year>2026</year>
</pub-date>
<pub-date pub-type="collection">
<year>2026</year>
</pub-date>
<volume>1</volume>
<issue>1</issue>
<fpage>1</fpage>
<lpage>4</lpage>
<permissions>
<copyright-statement>Copyright: &#x00A9; 2026 The Author(s)</copyright-statement>
<copyright-year>2026</copyright-year>
<license license-type="open-access" xlink:href="http://creativecommons.org/licenses/by/4.0/">
<license-p>This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See <uri xlink:href="http://creativecommons.org/licenses/by/4.0/">http://creativecommons.org/licenses/by/4.0/</uri>.</license-p>
</license>
</permissions>
<self-uri xlink:href="https://www.openlibhums.org/thr/articles/10.16995/thr.29426/"/>
<abstract>
<p>An excerpt from Canisia Lubrin&#8217;s forthcoming collection <italic>Bright Machine</italic>.</p>
</abstract>
</article-meta>
</front>
<body>
<p>*</p>
<verse-group>
<verse-line>Do you have what&#8217;s left on the Armfield.</verse-line>
<verse-line>Shovel by shovel. Mountain by mountain.</verse-line>
<verse-line>Rockies to Andes. Fear piled into foothills.</verse-line>
<verse-line>I absorb any trace of that busy-busy fear</verse-line>
</verse-group>
<verse-group>
<verse-line>even the dead possess. A bright lost grief.</verse-line>
<verse-line>Graves emptied past any reasons to stay.</verse-line>
<verse-line>How we drift in the blood-scent of cloven days.</verse-line>
<verse-line>So, fair. Leave our portraits to history&#8217;s ashtray.</verse-line>
<verse-line>So lucky to be spared. Fear of IV tanks. Warships.</verse-line>
</verse-group>
<verse-group>
<verse-line>This early morning of the Eurasian eagle owl.</verse-line>
<verse-line>Of pepper spray. Bruised water. In 4.6 billion years.</verse-line>
<verse-line>The museum&#8217;s 4th hour ornaments (y)our courage.</verse-line>
<verse-line>Sounds the rescue trains, Tallawah. The trumpet&#8217;s</verse-line>
<verse-line>demotic syntax gesturing to drum. Barrel, my tube</verse-line>
<verse-line>perfecting the world left to raise itself through dying.</verse-line>
</verse-group>
<verse-group>
<verse-line>I know the usual morning is unusual today.</verse-line>
</verse-group>
<break></break>
<break></break>
<break></break>
<verse-group>
<verse-line>In any book of dates. I scribble a coldfront. Lonely as a shark.</verse-line>
<verse-line>The palm was mine. I noticed it in wine. Noted mainly after</verse-line>
<verse-line>(y)our runaway tramcar, a half-millennium auction perched on a</verse-line>
<verse-line>metal eye&#8217;s hungry rim. The Boer War presage of questions, inches:</verse-line>
</verse-group>
<verse-group>
<verse-line>Will the wars ever finish? Is this present rave for the dead?</verse-line>
<verse-line>Is the brow and groin still opposite? Sistren, does every life</verse-line>
<verse-line>(time) defy our old boneyard. Mirror more story than grave.</verse-line>
<verse-line>Archive of pneumonia. Hives and poly-fevers. Fit new lives</verse-line>
<verse-line>growing into self-mockery. I (under)estimate in second publics.</verse-line>
</verse-group>
<verse-group>
<verse-line>A (dis)continent survives these hungers. The crest of policy to time.</verse-line>
<verse-line>The landfills begging. Change. Shelling our antique mouths. Forward,</verse-line>
<verse-line>Persona Non Grata, sent to greet us. Handcuffed as a stage. Again.</verse-line>
<verse-line>I love what no one loves. The fact of tradition. Days with you.</verse-line>
<verse-line>I could double-deal from the piercing slopes. Someone&#8217;s freedom.</verse-line>
<verse-line>To the hen: <italic>Fly</italic>! Leave us backburning violins. Badly voiding ties.</verse-line>
</verse-group>
<verse-group>
<verse-line>Remembering minor men. Small hunters in (dis)criminating century.</verse-line>
</verse-group>
<p>*</p>
</body>
<back>
<sec>
<title>Biography</title>
<p>Canisia Lubrin has authored five celebrated books of poetry and prose, including <italic>The Dyzgraphxst, Code Noir</italic>, and <italic>The World After Rain</italic>. This extract comes from <italic>Bright Machine</italic>, Lubrin&#8217;s fourth poetry volume, forthcoming in 2026. A teacher and the poetry editor at McClelland &amp; Stewart, she was born in St. Lucia and lives in Canada.</p>
</sec>
<sec>
<title>Competing Interests</title>
<p>The author has no competing interests to declare.</p>
</sec>
</back>
</article>