Shot entirely in Jamaica, the series delivers raw authenticity and a powerful showcase of local talent. Share The Sky series Possession has landed with a gravitational pull that’s hard to ignore, and audiences have wasted no time giving their stamp of approval — especially for its unapologetic embrace of Jamaican talent and culture. What makes this series truly seismic is not just its setting on the island, but the way it allows Jamaica to breathe, pulse and speak through its actors. This isn’t a backdrop; it’s a beating heart. And at the centre of that heartbeat are Sheldon Shepherd and Shantol Jackson, two Jamaican performers whose presence elevates the entire production. As one viewer put it online, “This is the first time I’ve seen Jamaica portrayed with this level of authenticity — absolutely gripping.” A commanding force in Jamaican cinema, Sheldon Shepherd has carved out a reputation for performances that feel volcanic in their emotional de...
How a poet from rural Jamaica became the BBC’s first Black woman producer and a defining voice of Caribbean literature.
Una Marson’s story is one of brilliance forged in the margins, a Jamaican woman who refused to stay in the quiet spaces history assigned to her. Born on 6 February 1905 in Santa Cruz, St Elizabeth, she grew up in an intellectually rich household shaped by her father, Reverend Solomon Isaac Marson, before his death forced the family to relocate to Kingston. There, she stepped into adulthood early, working as a reporter and social worker while sharpening the voice that would later challenge both colonial power and gendered expectations.
In her poem, Marson confronts the trauma of being called a racial slur, tracing its origins to slavery and exposing how it was used to dehumanise Black people and reinforce white supremacy.
By the late 1920s, she had already broken barriers, becoming Jamaica’s first female editor and publisher with her magazineThe Cosmopolitan,a platform that championed feminist ideas, workers’ rights, and emerging Caribbean literary talent. Her ambition carried her far beyond Jamaica’s shores. In 1932, Marson travelled to London, driven by what she described as a longing for the literary world she had devoured in books. But London was no romantic escape — it was a battleground.
As a Black immigrant woman, she confronted racism and sexism head‑on, transforming those experiences into activism. She became editor ofThe Keys, the journal of the League of Coloured Peoples, and joined international feminist organisations, using her pen and her presence to demand equality. Her poetry collections, includingTropic Reveriesand The Moth and the Star, explored themes of love, identity, and Black heritage, marking her as a vital early voice in Caribbean feminist literature. Marson’s influence deepened during the Second World War, when she became the first Black woman employed by the BBC.
In 1942, she took over the programme Calling the West Indies and transformed it into Caribbean Voices, a groundbreaking literary broadcast that introduced global audiences to writers who would later define Caribbean literature. Her work at the BBC was not merely administrative, it was visionary. She carved out a space for Caribbean storytelling at a time when such voices were routinely dismissed, helping to shape the region’s cultural identity for generations to come.
Despite her international achievements, Marson never abandoned her commitment to Jamaica. Returning home in the mid‑1930s and again after the war, she founded literary clubs, staged plays, and continued to advocate for women’s rights and social welfare.
Marson created this organisation to help provide poorer Jamaican children with access to basic education, showing her commitment to social welfare beyond literature.
Her legacy is one of relentless creativity and courage, a woman who wrote, edited, broadcast, organised, and agitated with a clarity of purpose that still resonates today. Una Marson died in 1965, but her imprint on Caribbean literature, feminist thought, and Black British history remains unmistakable. She was not simply ahead of her time; she was building the future.
