The 1966 version published by Sangsters is 244 pages long with an introduction by Rex Nettleford and includes a four-page glossary, as the poems are written mainly in Jamaican Patois.
Jamaica Labrish is written in patois, which is defined as the “dialect of the common people of a region, differing in various respects from the standard language of the rest of the country”.
[1] The introduction explains and praises the nature of Bennett's art: Nettleford claims that “as an artist she knows what is exactly the proof of the pudding and she makes the authenticity of her dialect verses speak for itself”.
He states: “there are others who would feel it is improper to endow her with the name of poet, though they would generously crown her as the leading entertainer in Jamaica’s comedy-lore, whether on stage, television or radio”.
[1] In the last line of the first section of the introduction, Nettleford says that “it is hoped that the volume will reveal Miss Bennett in her multiple roles as an entertainer, as a valid literary figure and as a documenter of aspects of Jamaican life, thought and feeling”.
Mervyn Morris in his paper already referred to, has been the only person who has taken the trouble to discuss Miss Bennett’s work in detail and with commendable critical awareness."
Analayzing what this means, Nettleford goes on to say more on this: "The absence of more serious literary analysis is a commentary on the prevailing ignorance that envelops the subject of the Jamaican dialect.
Bennett writes: "Ef is soh Jamaica changible, Doah me is a Jamaican, Me dah-trimble, for me narvas bout dis new Cons'itution".
The historical information at the beginning of this poem says, "If Richards was the pill, then Sir John Huggins was the sweet coating to cut the bitter taste.