Berry's use of both Westindian dialect and more standard English points to his position at the interface between two cultures, exemplified in his collection Lucy's Letters and Loving where the narrator of many of the poems is a Jamaican immigrant in London writing home and trying to describe her experience of life in the "dislocated" capital. There is an emotional duality in his work as well: on the one hand Berry's love of the sensual and imaginative richness of his Jamaican background informs his work, on the other hand, this inheritance is contaminated with the bitter oppressions of slavery. His anger at these injustices motivates some of his poems, particularly when writing about his father's ill treatment at the hands of his white employers. However, the overriding tone of Berry's poetry is one of celebration. Without denying the hurt of the colonial experience, he chooses to defy prejudice through an emphasis on unity, as in the gracious closing image of his poem 'Benediction': "Thanks to flowering of white moon/and spreading shawl of black night/holding villages and cities together."
This recording is a virtuoso performance as Berry effortlessly inhabits many different voices from his past and present, capturing the cadence of Westindian speech. The overall effect is of being welcomed into a community teeming with stories and incidents.
His recording was made for The Poetry Archive on 4 March 2004 at The Audio Workshop, London and was produced by Richard Carrington.