When it comes to literature from Caribbean nations, it tends to be feast or famine. Either you find yourself overwhelmed by a plethora of books from excellent and exciting writers, as in the case of countries such as Jamaica and Trinidad and Tobago, or you have to look hard to come up with even one work you can read in English.

All the same, few Caribbean nations have been as tricky to find stories from as the tiny archipelago of Saint Vincent and the Grenadines. As writer Adam Lowe of Peepal Tree Press, which published my Grenadian pick, explained when I contacted him to ask for ideas, the literature scene on the smaller island nations is still in its infancy and there is very little support and guidance for aspiring authors. As such, while there are writers from these countries, few will have had the opportunity to develop and publish their work.

Adam might have thought he was delivering bad news, but in actual fact his email spurred me on. There were SVG writers out there, then. I just had to find them.

A bit of frantic googling (froogling, if you will) later, and I landed at the threshold of ‘Writing “D”‘, a blog by debraprovidence, a teacher with a self-confessed interest in exploring the literary landscape of Saint Vincent and the Grenadines. I left a message and held my breath.

Debraprovidence replied the very next day with the names of three writers, all of whom, as far as I could make out, emigrated from SVG at a fairly young age. Of these, Cecil Browne’s short story collection The Moon is Following Me caught my eye.

The book is full of tales of longing. Whether they are hankering after sweet coconuts, a secret love or the perfect line up for a local band, Browne’s characters are all driven by a desire to achieve, prove or change something – even if they have to adopt unconventional means to do it. There is the emancipated slave-turned-hawker who challenges a rival to an eating competition in order to defend his pitch, the young man who tries to win his sweetheart’s affections by buying her a wedding dress, and the school-leaver who risks his life for a taste of his favourite fruit.

Their author, too, seems to be unafraid of breaking with tradition. Indeed, when I opened the book and found myself confronting one of the most unusual forewords I have ever read – in which the author assures the reader of his stories’ ‘universal appeal’ – I was rather taken aback. It seemed as though Browne’s query letter to his agent or publisher had somehow got mixed up with the manuscript and published with the book, and I was apprehensive about what the collection had in store.

I quickly relaxed, however, helped by Browne’s quirky humour and delight in subverting expectations. From the moody schoolboy of the title story, who spends his time wishing disaster would strike to relieve his boredom, to the prudish Mrs Goodridge in ‘Action Action’, who is thrown into a panic by the news that her husband of 12 years is finally coming home from England to live with her, Browne delights in making his characters swim against the currents of their lives.

He couples this with a deft turn of phrase and an eye for detail that makes otherwise commonplace moments sparkle. I particularly enjoyed the description of the ‘cylindrical dress, about a metre in diameter’ that Mrs Goodridge fantasizes about making for herself to ward off physical contact. In addition, the stories initiate the reader into the altered sense of scale that comes with living in a small place through incidental details such as bandleader Sister’s ambition ‘to put Fitz-Hughes on the SVG map’ in ‘First, Second, First, Third’.

That said, there are a few technical issues holding some of the early stories back. Several of them take a while to come into focus, as though Browne is casting about looking for his subject well into the second or third page. The prose is also occasionally a bit choppy, as though bits have been missed out, so that odd sentences jump from scene to scene like a scratched record. Perhaps most problematic of all is ‘Spanish Ladies’ – a story close to the author’s heart, judging by his remarks in the foreword – in which Browne seems to have allowed his emotional involvement with the events he describes to override his writing, making for an unusually flat and predictable end.

Overall, though, there is much to like here. The last two stories, ‘Action Action’ and ‘Taste for Freedom’, are particularly strong – my copy has ‘great’ and ‘nice’ scrawled in the margins throughout these. I’d be interested to see what Browne, who left SVG at the age of 13 and is now head of maths at a college in west London, writes next. And I wonder, if he’d stayed in SVG, whether he would have published these stories at all.

The Moon is Following Me by Cecil Browne (Matador, 2010)