I have never, ever sought validation from the arbiters of British poetic taste.

I wrote two poems about the 81 uprisings: Di Great Insohreckshan and Mekin Histri. I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.

The more I read my poems, the more I find out about them. I still read them with the same passion I felt when I wrote them as a young man.

I am often asked why I started to write poetry. The answer is that my motivation sprang from a visceral need to creatively articulate the experiences of the black youth of my generation, coming of age in a racist society.

I don't go to see bands any more because I've got tinnitus, so I have to avoid loud music. You get used to it, but when it's quiet you hear a constant ringing.

Back in those early days when I began my apprenticeship as a poet, I also tried to voice our anger, spirit of defiance and resistance in a Jamaican poetic idiom.

....the popular music of Jamaica, the music of the people, is an essentially experiential music, not merely in the sense that the people experience the music, but also in the sense that the music is true to the historical experience, that the music reflects the historical experience. It is the spiritual expression of the historical experience of the Afro-Jamaican.