The poet explains how researching her history led her to tell the story from three perspectives: the birth mother, the adoptive mother and the daughter
In one way, I’d been writing the poems in The Adoption Papers for my whole life. I’d been making up an imaginary birth mother and father with my adoptive mother for years, since I was a kid. She would say of my birth father: “I’m picturing a Paul Robeson figure, Jackie, perhaps with a bit of Nelson Mandela mixed in.”
In another, I started writing the book when I was pregnant. It’s difficult when your writing infiltrates your life and vice versa, difficult to work out what actually happened and what didn’t. Your imaginative life is your reality.
I remember in 1988, after I attended, for the first time, a Caribbean writers’ conference in central London. I was 26. I lived off West Green Road in Tottenham, with three other lesbians. My housemate Gabriela Pearse, also a budding poet, drove me across London in her red Citroën Diane. I remember arriving at the large, beautifully tiled foyer where the Jamaican poet Jean “Binta” Breeze was performing her astonishing poem about mental illness, “Riddym Ravings”. I was transfixed by her voice and the voice she’d given to the radio, lodged inside her like a baby.
There were academics and writers there from all over the world. Gabriela had told me there was a free spot where anyone could offer to read. I got up on the stage and read two poems called pragmatically, “The Mother Poem One” and “The Mother Poem Two”. One was in the voice of the birth mother and one in the voice of the adoptive mother. Perhaps it was the sight of me stood there with my big pregnant belly, but the poems to my surprise got a wonderful response and people kept coming up afterwards – Italian, French, Trinidadian and American delegates as well as British – asking where they could get them. They couldn’t get them anywhere because they weren’t published.