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When I went to college - when I read Shakespeare or Dickens or Scott - I just felt that, as a citizen of England, a British citizen, this was as much my heritage as any schoolboy's. That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.
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I feel blessed that I was gifted.
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If you talk about language in the Caribbean, you must relate it to history.
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A long time ago, I thought, as a writer in the Caribbean, 'I don't ever want to have to write 'It was great in Paris.'' Because I don't think, proportionately speaking, that one's experience in a city as opposed to, say, a village in St. Lucia, is superior to the other.
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I was writing from a very, very early age. My father used to write. He died early, and my mother was a schoolteacher, so my academic background from childhood is a strong one, a good one.
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I have never separated the writing of poetry from prayer. I have grown up believing it is a vocation, a religious vocation.
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Peel your own image from the mirror. Sit. Feast on your life.
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The Caribbean is not an idyll, not to its natives. They draw their working strength from it organically, like trees, like the sea almond or the spice laurel of the heights.
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The number of people who read a poem is not as important as how the poem affects those who read it.
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When you're young, influences count.
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The English language is nobody's special property. It is the property of the imagination: it is the property of the language itself.
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The Chinese, the African, and the European - they are all there. So the division of the Caribbean experience into being emphatically only African is absurd.
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I have no curiosity. I'm an island boy.
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My body's urge is to be in a pair of shorts, working and going down to the beach.
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I'd rather have just one person who reads and feels my work deeply than hundreds of thousands who read it but don't really care about.
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When a child's mind develops and is heading in a certain direction, we murder that mentality, we murder that imagination, by saying, 'Now, that is all well and good, but now sit down and start to study.'
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I consider the sound of the sea to be part of my body.
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Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole.
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The thing a writer has to avoid is being the 'voice' of his people and pretending he can speak for them.
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My mother taught Shakespeare and used to act.
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You can't read to yourself. It's your inner ear that hears a poem. If you hear a poet read his own work, it becomes very exciting. The melody is a great part of it.
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When I come to England, I don't claim England; I don't own it. I feel a great kinship because of the literature and the landscape. I have great affection for Edward Thomas and Philip Larkin, but there's still this distance: looking on at what I'm admiring, separate from what I am. And that's OK.
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In painting, you don't have to go through a process of opinion; it speaks directly, and either it works, or it doesn't.
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The Caribbean is an immense ocean that just happens to have a few islands in it. The people have an immense respect for it, awe of it.