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Zadie Smith

Zadie Smith Quotes

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Famous Zadie Smith Quotes

“But I cannot be worrying-worrying all the time about the truth. I have to worry about the truth that can be lived with. And that is the difference between losing your marbles drinking the salty sea, or swallowing the stuff from the streams. My Niece-of-Shame believes in the talking cure, eh?" says Alsana, with something of a grin. "Talk, talk, talk and it will be better. Be honest, slice open your heart and spread the red stuff around. But the past is made of more than words, dearie. We married old men, you see? These bumps"--Alsana pats them both --"they will always have daddy-long-legs for fathers. One leg in the present, one in the past. No talking will change this. Their roots will always be tangled. And roots get dug up. Just look in my garden - birds at the coriander every bloody day...”

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Book:White Teeth
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“Class is a bubble, formed by privilege, shaping and manipulating your concept of reality. But it can at least be brought to mind; acknowledged comprehended, even atoned for through transformative action. By comparing your privilege with that of others you may be able to modify both your world and the worlds outside your world - if the will is there to do it. Suffering is not like that. Suffering has an absolution relation to the suffering individual - it cannot be easily mediated by a third term like ‘privilege’.”

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Book:Intimations
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“For me the question is not: Should we abandon fiction? (Readers will decide that—are in the process of already deciding. Many decided some time ago.) The question is: Do we know what fiction was? We think we know. In the process of turning from it, we’ve accused it of appropriation, colonization, delusion, vanity, naiveté, political and moral irresponsibility. We have found fiction wanting in myriad ways but rarely paused to wonder, or recall, what we once wanted from it—what theories of self-and-other it offered us, or why, for so long, those theories felt meaningful to so many. Embarrassed by the novel—and its mortifying habit of putting words into the mouths of others—many have moved swiftly on to what they perceive to be safer ground, namely, the supposedly unquestionable authenticity of personal experience.”

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Author:Zadie Smith
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“The old—and never especially helpful—adage write what you know has morphed into something more like a threat: Stay in your lane. This principle permits the category of fiction, but really only to the extent that we acknowledge and confess that personal experience is inviolate and nontransferable. It concedes that personal experience may be displayed, very carefully, to the unlike-us, to the stranger, even to the enemy—but insists it can never truly be shared by them. This rule also pertains in the opposite direction: the experience of the unlike-us can never be co-opted, ventriloquized, or otherwise “stolen” by us. (As the philosopher Anthony Appiah has noted, these ideas of cultural ownership share some DNA with the late-capitalist concept of brand integrity.) Only those who are like us are like us. Only those who are like us can understand us—or should even try. Which entire philosophical edifice depends on visibility and legibility, that is, on the sense that we can be certain of who is and isn’t “like us” simply by looking at them and/or listening to what they have to say. Fiction didn’t believe any of that. Fiction suspected that there is far more to people than what they choose to make manifest. Fiction wondered what likeness between selves might even mean, given the profound mystery of consciousness itself, which so many other disciplines—most notably philosophy—have probed for millennia without reaching any definitive conclusions. Fiction was suspicious of any theory of the self that appeared to be largely founded on what can be seen with the human eye, that is, those parts of our selves that are material, manifest, and clearly visible in a crowd. Fiction—at least the kind that was any good—was full of doubt, self-doubt above all. It had grave doubts about the nature of the self.”

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Author:Zadie Smith
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“What are we doing here, what is our effect, what will be left behind as legacy, and so on. It all has to be thought about, of course. Step by step. This house is a good example.” He reached to his left and patted a patch of exposed wiring in the wall. “Maybe they paid off the owner or maybe he has no idea we are in it. Who knows? But now we are in it and all of the village sees we are in it, and so now they know that it belongs, in essence, to nobody, or to anybody the state on a whim decides to give it to. So what will happen when we leave, when the new school is up and running and we don’t visit here much any more—or at all? Maybe several families will move in, maybe it will become a community place. Maybe. My guess is it will be taken apart, brick by brick.” He took off his glasses and massaged them with the hem of his T-shirt. “Yes, first someone will take the wires, then the sheeting, then the tiles, but eventually every stone will be repurposed. This is my bet . . . I may be wrong, we will have to wait and see. I am not as ingenious as these people. No one is more ingenious than the poor, wherever you find them. When you are poor every stage has to be thought through. Wealth is the opposite. With wealth you get to be thoughtless.” “I don’t see anything ingenious about poverty like this. I don’t see anything ingenious about having ten children when you can’t afford one.” Fern put his glasses back on and smiled at me sadly. “Children can be a kind of wealth,” he said.”

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Book:Swing Time
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“It starts innocently. Casually. You turn up at the annual spring fair full of beans, help with the raffle tickets (because the pretty red-haired music teacher asks you to) and win a bottle of whiskey (all school raffles are fixed), and, before you know where you are, you're turning up at the weekly school council meetings, organizing concerts, discussing plans for a new music department, donating funds for the rejuvenation of the water fountains—you're implicated in the school, you're involved in it. Sooner or later you stop dropping your children at the school gates. You start following them in.”

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Book:White Teeth
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“Right. I look fine. Except I don't,' said Zora, tugging sadly at her man's nightshirt. This was why Kiki had dreaded having girls: she knew she wouldn't be able to protect them from self-disgust. To that end she had tried banning television in the early years, and never had a lipstick or a woman's magazine crossed the threshold of the Belsey home to Kiki's knowledge, but these and other precautionary measures had made no difference. It was in the air, or so it seemed to Kiki, this hatred of women and their bodies-- it seeped in with every draught in the house; people brought it home on their shoes, they breathed it in off their newspapers. There was no way to control it.”

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Book:On Beauty
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“A little white woman, . . . [a] tiny little white woman I could fit in my pocket.’ . . . ‘And I don’t know why I’m surprised. You don’t even notice it – you never notice. You think it’s normal. Everywhere we go, I’m alone in this… this sea of white. I barely know any black folk any more, Howie. My whole life is white. I don’t see any black folk unless they be cleaning under my feet in the fucking café in your fucking college. Or pushing a fucking hospital bed through a corridor . . . ‘I gave up my life for you. I don’t even know who I am any more.’ . . . ‘Could you have found anybody less like me if you’d scoured the earth? . . . My leg weighs more than that woman. What have you made me look like in front of everybody in this town? You married a big black bitch and you run off with a fucking leprechaun?”

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Book:On Beauty
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“There were special words for me, lurking on the horizon, prepackaged to mark the possible future stages of my existence. I might become a spinster. I might become a crone. I might be a babe or a MILF or ‚childless‘. My brothers, no matter what else might befall them, would remain men. And in the end of it all, if I was lucky, I would become that most piteous of things, an old lady, whom I already understood was a figure everybody felt free to patronize, even children.”

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Author:Zadie Smith
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“The wind picked up, shaking the trees below. She had the sense of being in the country. In the country, if a woman could not face her children, or her friends, or her family – if she were covered in shame – she would probably only need to lay herself down in a field and take her leave by merging, first with the grass underneath her, then with the mulch under that. A city child, Natalie Blake had always been naive about country matters. Still, when it came to the city, she was not mistaken. Here nothing less than a break – a sudden and total rupture – would do.”

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Author:Zadie Smith
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“[..] as midnight inevitably came and went without the horsemen of the apocalypse making an appearance, Clara surprised herself by falling into a melancholy. For ridding oneself of faith is like boiling sea-water to retrieve the salt something is gained but something is lost. Though her friends Merlin, Wan-Si, et al. clapped her on the back and congratulated her for exorcizing those fervid dreams of perdition and redemption, Clara quietly mourned the warmer touch she had waited for these nineteen years, the all-enveloping bear hug of the Saviour, the One who was Alpha and Omega, both the beginning and the end; the man who was meant to take her away from all this, from the listless reality of life in a ground-floor flat in Lambeth. What now for Clara? Ryan would find another fad; Darcus need only turn to the other channel; for Hortense another date would of course materialize, along with more leaflets, ever more faith. But Clara was not like Hortense. Yet a residue, left over from the evaporation of Clara's faith, remained. She still wished for a saviour. She still wished for a man to whisk her away, to choose her above others so that she might Walk in white with Him: for [she] was worthy. Revelation 3:4.”

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Book:White Teeth
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“They caught up with each other's news casually, leaving long, cosy gaps of silence in which to go to work on their muffins and coffees. Jerome - after two months of having to be witty and brilliant in a strange town among strangers - appreciated the gift of it. People talk about the happy quiet that can exist between two lovers, but this too was great; sitting between his sister and his brother, saying nothing, eating. ~ on the comforts of home.”

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Book:On Beauty
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“He knew that he, Millat, was a Paki no matter where he came from; that he smelled of curry; had no sexual identity; took other people’s jobs; or had no job and bummed off the state; or gave all the jobs to his relatives; that he could be a dentist or a shop-owner or a curry-shifter, but not a footballer or a filmmaker; that he should go back to his own country; or stay here and earn his bloody keep; that he worshiped elephants and wore turbans; that no one who looked like Millat, or spoke like Millat, or felt like Millat, was ever on the news unless they had recently been murdered.”

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Book:White Teeth
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“It became clear that Keisha Blake could not start something without finishing it. If she climbed onto the boundary wall of Caldwell, she was compelled to walk the entire wall, no matter the obstructions in her path (beer cans, branches). This compulsion, applied to other fields, manifested itself as "intelligence." Every unknown word sent her to a dictionary--in search of something like "completion"--and every book led to another book, a process that, of course, could never be completed. This route through early life gave her no small portion of joy, and, indeed, it seemed at first that her desires and her capacities were basically aligned. She wanted to read things--could not resist wanting to read things--and reading was easily done, and relatively inexpensive. On the other hand, that she should receive any praise for such reflexive habits baffled the girl, for she knew herself to be fantastically stupid about many things. Wasn't it possible that what others mistook for intelligence was in fact only a sort of mutation of the will?”

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Author:Zadie Smith
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“Re-examine all you have been told,' Whitman tells us, 'and dismiss whatever insults your own soul.' Full disclosure: what insults my soul is the idea—popular in the culture just now, and presented in widely variant degrees of complexity—that we can and should write only about people who are fundamentally 'like' us: racially, sexually, genetically, nationally, politically, personally. That only an intimate authorial autobiographical connection with a character can be the rightful basis of a fiction. I do not believe that. I could not have written a single one of my books if I did. But I feel no sense of triumph in my apostasy. It might well be that we simply don’t want or need novels like mine anymore, or any of the kinds of fictions that, in order to exist, must fundamentally disagree with the new theory of 'likeness.' It may be that the whole category of what we used to call fiction is becoming lost to us. And if enough people turn from the concept of fiction as it was once understood, then fighting this transformation will be like going to war against the neologism 'impactful' or mourning the loss of the modal verb 'shall.' As it is with language, so it goes with culture: what is not used or wanted dies. What is needed blooms and spreads.”

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Author:Zadie Smith
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“It’s natural that we should fear and be suspicious of representations of us by those who are not like us. Equally rational is the assumption that those who are like us will at least take care with their depictions, and will be motivated by love and intimate knowledge instead of prejudice and phobia. In the twentieth and twenty-first centuries, writing by women, and by oppressed minorities of all kinds, has wondrously expanded the literary landscape, ennobling griefs that had, historically, either passed unnoticed or been brutally suppressed and caricatured. We’re eager to speak for ourselves. But in our justified desire to level or even obliterate the old power structures—to reclaim our agency when it comes to the representation of selves—we can, sometimes, forget the mystery that lies at the heart of all selfhood. Of what a self may contain that is both unseen and ultimately unknowable. Of what invisible griefs we might share, over and above our many manifest and significant differences. We also forget what writers are: people with voices in our heads and a great deal of inappropriate curiosity about the lives of others.”

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Author:Zadie Smith
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“I, along with generations of women readers, have wondered: How could a man know so much of us? But the mystery is not so mysterious. Husbands know a great deal about wives, after all, and wives about husbands. Lovers know each other. Brothers know a lot about sisters and vice versa. Muslims and Christians and Jews know one another, or think they do. Our social and personal lives are a process of continual fictionalization, as we internalize the other-we-are-not, dramatize them, imagine them, speak for them and through them. The accuracy of this fictionalization is never guaranteed, but without an ability to at least guess at what the other might be thinking, we could have no social lives at all. One of the things fiction did is make this process explicit—visible. All storytelling is the invitation to enter a parallel space, a hypothetical arena, in which you have imagined access to whatever is not you. And if fiction had a belief about itself, it was that fiction had empathy in its DNA, that it was the product of compassion.”

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Author:Zadie Smith
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“Doesn't have to be useful,' my mother pressed. 'Art means not having to be useful! In West Africa, for example, a hundred years ago, there were some village women, they were making these strangely shaped pots, impractical pots, and the anthropologists couldn't understand what they were doing, but that was because, they, the scientists, were expecting a quote unquote "primitive" people to make only useful things, when actually they were making the pots just for their beauty - no different from a sculptor - no to collect water, not to hold grain, just for their beauty, and to say: we were here, at this moment in time, and this is what we made.”

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Book:Swing Time
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“At a certain point you have to leave childish things behind, and one of the childish things is a sense that 'Wow, I can draw' or in my case 'Wow, I can read'... You feel you have what's called a talent, but as you become an adult, if you hope to make things, you have to give up the preoccupation with talent otherwise you'll spend your life painting beautiful pictures of fruit bowls that look like fruit bowls.”

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Author:Zadie Smith
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“By Allah, how _thankful_ he is (_yes, madam, one moment, madam_), how _gladdened_ by the thought that Magid, Magid at least, will, in a matter of four hours, be flying east from this place and its demands, its constant cravings, this place where there exists neither patience nor pity, where the people want what they want _now_, right now (_We've been waiting twenty minutes for the vegetables_), expecting their lovers, their children, their friends, and even their gods to arrive at little cost and in little time, just as table ten expect their tandoori prawns. . . .”

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Book:White Teeth
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“People talk about the happy quiet that can exist between two loves, but this, too, was great; sitting between his sister and his brother, saying nothing, eating. Before the world existed, before it was populated, and before there were wars and jobs and colleges and movies and clothes and opinions and foreign travel -- before all of these things there had been only one person, Zora, and only one place: a tent in the living room made from chairs and bed-sheets. After a few years, Levi arrived; space was made for him; it was as if he had always been. Looking at them both now, Jerome found himself in their finger joints and neat conch ears, in their long legs and wild curls. He heard himself in their partial lisps caused by puffy tongues vibrating against slightly noticeable buckteeth. He did not consider if or how or why he loved them. They were just love: they were the first evidence he ever had of love, and they would be the last confirmation of love when everything else fell away.”

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Book:On Beauty
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“I am a citizen as well as an individual soul and one of the things citizenship teaches us, over the long stretch, is that there is no perfectibility in human affairs… In this world there is only incremental progress… It might look small to those with apocalyptic perspectives, but to she who not so long ago could not vote, or drink from the same water fountain as her fellow citizens, or marry the person she chose, or live in a certain neighborhood, such incremental change feels enormous… We will never be perfect: that is our limitation. But we can have, and have had, moments in which we can take genuine pride… Progress is never permanent, will always be threatened, must be redoubled, restated and reimagined if it is to survive.”

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Author:Zadie Smith
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“Generally she kept her head down, but on the occasions she raised it she was treated to the most intimate of panoramic views: the scattered possessions of the three people she had created. Several small items made her cry: a tiny woollen bootie, a broken orthodontic retainer, a woggle from a cub-scout tie. She had not become Malcolm X's private secretary. She never did direct a movie or run for the Senate. She could not fly a plane. But here was all this.”

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Book:On Beauty
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