I'm way behind the curve. The spine of White Teeth is visible in my bookcase - I've never read it - is it absolutely worth reading or something I can eventually get around to in a couple of years?
I love Smith's White Teeth. She is a beautiful writer. I've struggled getting through On Beauty too, even though it has some pretty great lines every so often. I'm happy that there was a post about this essay collection because now i'm going to run out and read it, nasty or not.
@judgingamy: On Beauty wasn't my favorite, but Howards End is one of my all time favorite books, so I had to like On Beauty simply because of how she takes on Forster's novel.
But I'm an unapologetic lover of Zadie Smith and everything she's written. I think I have a crush on her.
She does sound like a very smart, well read person. It is funny that she talked about her feelings in Hurston's novel because I had those similar feelings about Morrison's "Song of Soloman."
"It also provides a corrective to the opposite but equally restrictive notions that we can only enjoy books whose writers we identify with culturally, and that cultural identification has no place in the literary experience."
Just this morning I had a conversation about how frustrating/insulting it is that straight men, even the ones who believe in feminist ideal of equality and freedom of choice, stubbornly resist books or films with female narratives. If the protagonist is a woman, it is considered "chick lit" or a "chick film" and therefore opaque, unknowable, and uninteresting to heterosexual men. As though identifying with a person of the opposite sex were impossible (and yet it's something women do all the time, because of the dominance of male narratives in our culture).
Smith's commentary, particularly her mention that she actually really dislikes the concept of literary identification despite its strong pull, seems to highlight the aspect of identification that is most troubling. It is a way of saying, "I'm different, I'm special... in just the way this character is different and special. And thus I understand her and she speaks to me." When we read like this, it reinforces the notion that if you don't share the gender, race, or class of the character, you cannot identify. When instead I think we should all be learning that it is possible to identify personally with any well-drawn, fully realized character, out of a sense of humanness that is more universal than we like to acknowledge.
@emfish55: we should all be learning that it is possible to identify personally with any well-drawn, fully realized character, out of a sense of humanness that is more universal than we like to acknowledge.
The interesting thing about Smith's essay on Hurston is she thinks its possible to acknowledge this and yet also to identify especially with certain characters and/or writers -- and I tend to agree.
@emfish55: I think a lot of the time, marketing paints a picture of a story that is misleading, and this is what pigeonholes a piece. Consider the differences in these trailers:
They are both bio-pics, but Amelia is clearly being marketed on the love story with Gere's character, rather than the majesty and mystique of Earhart's bold spirit.
@Jack_Burton: I agree that women's stories are often packaged in a way meant to appeal to women and not men. Look at the covers of most "chick lit". How many men are going to pick up a book with a pink cover and a stilletto on it?
But in a way, that's my point. The only reason marketers are able to use signifiers like a romantic kiss between Swank and Gere, or the silhouette of a woman's shoe to appeal specifically to women is because culturally, romance and fashion are for women (and gay men), but straight men cannot be interested in them because those are things women like.
This is notable because if you look at the demographics of people who go to action movies, or films about sports, women are very represented. Women will read or watch stories about men without feeling like their femininity is being threatened. But the reverse is often not true. And that is in part because traditionally, stories about men are considered universal and stories about women are considered "niche". You see a similar and disturbing dichotomy for stories about white people (otherwise known as just "stories") and stories about non-whites (which are considered "minority narratives"). In each case, the dominant group disregards stories about the non-dominant group as less important, less familiar, or less interesting.
Oh gosh, Anna, I couldn't disagree more. I liked Smith a lot more before she appointed herself as some kind of philosopher of the novel - I mean that essay on McCarthy and O'Neill starts out with a false dichotomy and gets worse from there. I've actually read four or five of her essays and each time there was just a strain of... trying too hard.
Then again I was never in love with her novels either.
But she is married to a poet I much like.
These are my views on Zadie Smith, not that anyone cares.
@PilgrimSoul: Amongst my literary friends and family, she is one of the most polarizing writers. Bringing her up in conversation is bound to start a fight. I hated White Teeth, (I refused to read Autograph Man on the basis of its annoying premise) and LOVED On Beauty. (Most everyone I know felt the opposite).
But I want to read this, mostly because I'm the only person I know who's read Netherland and Remainder and I'm really curious what she says about them.
@TheGintheCity: She says that Netherland's realism sucks and that Remainder is the way forward for the novel. She was roundly ridiculed for it. I have also read and liked both.
@PilgrimSoul: Totally agree with you. I can never get further than a couple of sentences into anything she's written without being turned-off. I tried again here - this is how far I got ('ugh' moments in bold):
"This is a beautiful novel about soulfulness. That it should be so is a tribute to Hurston's skill. She makes "culture" [the quotes] — that slow and particular and artificial accretion of habit and circumstance"
@PilgrimSoul: I thought her NYRB essay on the two paths for the novel was the strangest exercise in writerly self-loathing. Why is it always realists who uphold experimental literature as the holy grail? You never see that situation in reverse.
I sent this to my college BFF and she told me I was her girl crush in college. She was mine. She found some of my old letters and they were almost creepy how much I gushed about her to her!
I had a full blown girlcrush fling with a girl during my first year at university. After finals we spent 62 hours straight together. After our fling was over we became close friends (with snuggle privlages).
Where's the line between girl crush and mentor? I'm trying to think of "girl crushes" in my life, and mostly coming up with older women from whom I would want to learn or whose success i want to emulate.
umm, i have a bunch: siouxsie sioux, lydia lunch, isabella rossellini, poison ivy from the cramps, kate bush, anais nin, francesca lia block, baroness elsa von freytag-loringhoven, nina hagen, katharine hepburn.
12/03/09
12/03/09
12/03/09
My list goes something like this:
1. To Kill a Mockingbird
2. White Teeth
Do it.
12/03/09
Thanks!
@ameliabearhart too!
12/03/09
Curl up with it over the Xmas hols. You won't regret it.
12/03/09
12/04/09
12/04/09
all of you lovelies are very convincing!
12/03/09
12/03/09
But I'm an unapologetic lover of Zadie Smith and everything she's written. I think I have a crush on her.
12/03/09
#tips
12/03/09
12/03/09
12/03/09
Just this morning I had a conversation about how frustrating/insulting it is that straight men, even the ones who believe in feminist ideal of equality and freedom of choice, stubbornly resist books or films with female narratives. If the protagonist is a woman, it is considered "chick lit" or a "chick film" and therefore opaque, unknowable, and uninteresting to heterosexual men. As though identifying with a person of the opposite sex were impossible (and yet it's something women do all the time, because of the dominance of male narratives in our culture).
Smith's commentary, particularly her mention that she actually really dislikes the concept of literary identification despite its strong pull, seems to highlight the aspect of identification that is most troubling. It is a way of saying, "I'm different, I'm special... in just the way this character is different and special. And thus I understand her and she speaks to me." When we read like this, it reinforces the notion that if you don't share the gender, race, or class of the character, you cannot identify. When instead I think we should all be learning that it is possible to identify personally with any well-drawn, fully realized character, out of a sense of humanness that is more universal than we like to acknowledge.
12/03/09
The interesting thing about Smith's essay on Hurston is she thinks its possible to acknowledge this and yet also to identify especially with certain characters and/or writers -- and I tend to agree.
12/03/09
[www.youtube.com]
[www.youtube.com]
They are both bio-pics, but Amelia is clearly being marketed on the love story with Gere's character, rather than the majesty and mystique of Earhart's bold spirit.
12/03/09
But in a way, that's my point. The only reason marketers are able to use signifiers like a romantic kiss between Swank and Gere, or the silhouette of a woman's shoe to appeal specifically to women is because culturally, romance and fashion are for women (and gay men), but straight men cannot be interested in them because those are things women like.
This is notable because if you look at the demographics of people who go to action movies, or films about sports, women are very represented. Women will read or watch stories about men without feeling like their femininity is being threatened. But the reverse is often not true. And that is in part because traditionally, stories about men are considered universal and stories about women are considered "niche". You see a similar and disturbing dichotomy for stories about white people (otherwise known as just "stories") and stories about non-whites (which are considered "minority narratives"). In each case, the dominant group disregards stories about the non-dominant group as less important, less familiar, or less interesting.
12/03/09
12/03/09
Then again I was never in love with her novels either.
But she is married to a poet I much like.
These are my views on Zadie Smith, not that anyone cares.
12/03/09
But outside of White Teeth, I don't particularly care for her as a writer.
I did, however, also love The Weatherman. I will never write these words again.
12/03/09
But I want to read this, mostly because I'm the only person I know who's read Netherland and Remainder and I'm really curious what she says about them.
12/03/09
12/03/09
"This is a beautiful novel about soulfulness. That it should be so is a tribute to Hurston's skill. She makes "culture" [the quotes] — that slow and particular and artificial accretion of habit and circumstance"
Sorry, three 'ugh's and you're out.
Don't know who she's married to.
12/03/09
12/03/09
07/29/09
07/29/09
07/29/09
07/29/09
Emma Thompson
07/29/09
07/29/09
07/29/09
07/29/09
07/29/09
07/30/09
why thank you!!