I was a reader before I was a writer, and when I started putting together my first collection of short stories, Fairytales For Lost Children, I drew on my rich history as a reader to try and create my voice. I wanted this voice to reflect my Somali background, my Kenyan upbringing and my London home. This voice would be a mashup of all the elements that formed my youth; the sticky-sweet Jamaican patois, the Kenyan street slang, my Somali and Italian linguistic tics, my love of jazz poetics and nineties hip-hop slanguistics. This language would form the bed on which my narratives of love, loss, identity and hope would rest.

As her body expanded so did her interior landscape. She imagined minarets, skyscrapers, entire cities being constructed inside her. Thighs thickened, belly became basketball-sized, buttocks deepened with dimples. Even her taste-buds shifted, and she held her tongue out for crushed ice, chalk, charcoal.

I want you to know that life will try to crack you like an egg and your silence will eventually break. Someday you will spill some of those painful secrets and taste a modicum of much-needed freedom. You will lose a great deal as a result but the gains will outweigh every loss. You will love and be loved by a beautiful man in a place where your mutual passion won’t be a marker of shame but pride. You will be awkward and alone and alien for a long time but you will transform these qualities, which is to say yourself, into a work of art. You will wear your awkwardness, your aloneness and your alienness in your hair like gold thread. You will adorn your wonkiness on your wrist like a charm bracelet studded with stars.

She was a spiky teenager rebelling against the soul-suck mirror reflected back at her in her mother’s blank stare, her question mark of a spine. Determined to beat the odds, she completed high school with distinction. But there was a caveat. Beydan was allowed to roam and educate herself – up to a point. On her eighteenth birthday her Father sat her down and held out his Rolexed wrist. Studded with crystals and flecks of diamond, the watch dazzled in the light. All Beydan could hear, however, was tick-tock-tick-tick-tick-tick - time to neatly fold all her hard work, to parcel up her progress, send it to the attic in her subconscious and let dust gather on her dreams. There was a lump in her throat and a stopwatch in her womb.

The only seed that needs regular watering is our imagination.

In those sticky summer nights in South London our windows stay open and our tiny apartment becomes our secret garden. The magic of the secret garden is that it exists in our imagination. There are no limits, no borderlines. The secret garden leads to the marigolds of Mogadishu and the magnolias of Kingston and when the heat turns us sticky and sweet and unwilling to be claimed by defeat we own the night. We own our bodies. We own our lives.

As a young gay African, I have been conditioned from an early age to consider my sexuality a dangerous deviation from my true heritage as a Somali by close kin and friends. As a young gay African coming of age in London, there was another whiplash of cultural confusion that one had to recover from again and again: that accepting your sexual identity doesn’t necessarily mean that the wider LGBT community, with its own preconceived notions of what constitutes a "valid" queer identity, will embrace you any more welcomingly than your own prejudiced kinsfolk do.

I wear makeup and I don dramatic attire because I like control. I’m not interested in controlling others but I’m invested in strict self-governance. This is why I don’t do many face-to-face interviews. I don’t like being caught off-guard. It all goes back to that attempt to create order amidst disorder. One of the most frightening things about losing your mind is that you feel like your body, your brain, every part of your essence is being invaded. There is such a palpable helplessness to that narrative and I hate the sense of victimhood that it implies. Certainly, this is how I felt during my moments of psychological disquiet. I felt like my personhood was under attack. Performativity is important to me because I’m the teller of my own stories. I have been performing these multiple roles for so long that they have bled into my identity. I have become the man that I always wanted to be.

Home is in my hair, my lips, my arms, my thighs, my feet and my hands. I am my own home. And when I wake up crying in the morning, thinking of how lonely I am, I pinch my skin, tug at my hair, remind myself that I am alive. Remind myself to step outside and greet the morning. Remind myself that it’s all about forward motion. It’s all about change. It’s all about that elusive state. Freedom.

There was once a house built out of memories and inside this house lived a woman called The Memory Snatcher. This woman was my Aunt Beydan. She was a sorceress and as a child I feared she would stalk me in my sleep and steal all my memories until I could no longer remember who I was.

Who do I write for? I thought about this again and again over the next few days until the answer crystalized in my consciousness. I write for all readers. But my primary interest is in representing the complex but universal experience of Somalis. I do this because the media representation of the global Somali community is one that is carved out of derivative clichés crammed with pirates, warlords, terrorists, passive women and girls whose entire existence seems to be nothing more than a footnote on the primitive dangers of female genital mutilation. I write because I want to give a long-overdue voice to a community that has experienced a tremendous array of challenges but who constantly face these challenges with the most wicked sense of humour, humility and dignity. My father always used to tell me that in our culture, the done thing when you’re facing hardship and your belly is empty is to moisturize your face, comb your hair, press your clothes and step out into the sun with your sense of humanity intact. It’s a lesson I’ve carried with me to this day.

I have always been a loner. Even as a child, when my family and friends were off attending parties I would be sequestered in my room, sketchpad in hand, stereo by my side, listening to seductive R&B. Solitude was something I took for granted. Coming from a large family I needed solitude in order to think straight and paint my way out of confusion. My parents were accepting of the fact that I kept to myself and they respected my decision even though it went against my Somali upbringing, a culture rooted in boisterousness and joie de vivre.

There may not be any romance to mental illness but who needs romance when the preferable route is agency? The prevailing conversation around mental health issues is agency and the lack thereof on the part of the mentally ill. But what do you do if you’re a paid-up member of the mentally ill populace in question? Do you curl up into a ball and give up? No, you look for solutions. Ultimately, it’s about keeping despair at bay and sometimes simple things like running, taking up a hobby, doing charity work, painting or, in my case, writing can be a galvanizing part of the recovery process. Keeping the brain and the body active can give life a semblance of pleasure and hope. This is what writing has done for me. I took every traumatic element of my condition and channelled it into something useful.

The God of Imagination lived in fairytales. And the best fairytales made you fall in love. It was while flicking through "Sleeping Beauty" that I met my first love, Ivar. He was a six-year-old bello ragazzo with blond hair and eyebrows. He had bomb-blue eyes and his two front teeth were missing.The road to Happily Ever After, however, was paved with political barbed wire. Three things stood in my way.1. The object of my affection didn't know he was the object of my affection.2. The object of my affection preferred Action Man to Princess Aurora.3. The object of my affection was a boy and I wasn't allowed to love a boy.

In the Somali culture many things go unsaid: how we love, who we love and why we love that way. I don't know why Suldana loves the way she does. I don't know why she loves who she does. But I do know that by respecting her privacy I am letting her dream in a way that my generation was not capable of. I'm letting her reach for something neither one of us can articulate.

i have been told many times by family, friends, colleagues and strangers that I, a black African Muslim lesbian, am not included in this vision; that my dreams are a reflection of my upbringing in a decadent, amoral Western society that has corrupted who I really am. But who am I, really? Am I allowed to speak for myself or must my desires form the battleground for causes I do not care about? My answer to that is simple: ‘no one allows anyone anything.’ By rejecting that notion you discover that only you can give yourself permission on how to lead your life, naysayers be damned. In the end something gives way. The earth doesn’t move but something shifts. That shift is change and change is the layman’s lingo for that elusive state that lovers, dreamers, prophets and politicians call ‘freedom’.

I've always loved being gay. Sure, Kenya was not exactly Queer Nation but my sexuality gave me joy. I was young, not so dumb and full of cum! There was no place for me in heaven but I was content munching devil's pie here on earth.