Jackie Kay, the former Makar, or national poet of Scotland, utilizes a distinctly lyrical style in her expository writing. Rather than directly saying something has taken place, she allows the reader to assume certain details and events by subtle suggestions. She does this in particular when describing the romantic exchanges between Joss and Millie, in which their actions are never explicitly spelled out. Through poetic descriptions, Kay hopes to elicit an emotional response from readers. For example, Millie compares her memory of Joss to photos of him: “I can see his lips. His lips pursed when he played the trumpet. His lips open to talk. Him leaning over me, kissing me softly with his lips. All over my face. His dark full lips” (100).

Kay also frequently employs listing for emphasis. When talking about the greats of jazz, among whom Joss stands, she never provides just one example. Kay describes a crowd of fans encouraging Joss to continue playing after he finishes a song—“Stomping, stamping, hooting, whistling, cheering” (134). Here, she uses alliteration, near rhymes, and a transition from feet to the head to illustrate the

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