Like most of my Anansi pieces their allegory are contents of coding for queer intimacy but also holders of scenarios that are interlocked with angst. The fields in most of my work consider the sugar cane industry and slavery and how that history is locked up in the Caribbean experience of becoming. What is unique about this piece is the interaction of the cash crop, a man walking through a rocky terrain, and the presence of water. I want to consider all of us here who came from the land carrying the cane fields with us wherever we go.