When Kay began writing "there wasn't anybody else saying the things I wanted to say...I started out of that sense of wanting to create some image of myself." However, though she draws on autobiography, Kay is skilful at fictionalising this material, thereby allowing the reader more space to enter her work. The inherent drama of her poetry is influenced by the Scottish tradition of public verse, of ballad, song and the recitations of countless childhood Burns' nights. Music has also had a significant impact, particularly the rhythms of jazz and blues. This is most obvious in her poems based on the life of the jazz singer, Bessie Smith, but is inherent in all her work, particularly in her use of refrain. Her repetition of lines and phrases is often affiliated with loss, in love poems such as 'Spoons' and 'Her' or in the wistful elegy for an imaginary childhood friend, 'Brendon Gallacher'.
This combination of dramatic intensity and musicality lends itself to performance. In her Archive recording, Kay's Glaswegian lilt is still to the fore, at home in the 'Old Tongue' even as she describes her fear of losing it. It's precisely the rooted quality of her accent that makes the encounters with African culture so powerful, vividly enacting the tensions of her inheritance for the listener.
Her recording was made for The Poetry Archive on 22 August 2005 at The Audio Workshop, London and was produced by Anne Rosenfeld.