As a writer of colour, you have to be victim or perpetrator.

The fiction writer in me likes gaps in stories because I can jump into that gap and try to suggest something.

If reggae comes from another country, you can have the relationship to reggae that I have to rock. But it's something I grew up with. It's probably something I appreciate more now. In the '80s, I was all about New Wave and synth pop - New Order and Depeche Mode and Eurythmics and Michael Jackson and tons and tons and tons of Prince.

A lot of time, I'd spell things in standard English instead of phonetically because I want people to understand what's going on. It's also very lyrical, and the great thing about lyrical prose is even when you're not totally sure of the words, you can be swayed by the musicality of it.

The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?

There was never a single murder in my neighbourhood; there was barely a robbery. It was so suburban, it was almost disappointing.