Zadie Smith Quotes

I Was Brought Up With The Sense That I Was Absolutely No Different From My Brothers. I Went To College Thinking I Was Absolutely No Different From The Men In College. But That's Not True. I'm Fundamentally Different. The Problem Was Not Being Able To Understand Difference And Equality At The Same Time. It's Something That We Can't Seem To Comprehend. You Can't State Difference And Also State Equality. We Have To State Sameness To Understand Equality. It's A Mistake.

I'm A Writer Who Never Writes About Sex. It's So Far From My Own Fictional World.

When People Use That Stream Of Consciousness, It's Kind Of Just A Term They Use For Anything That Looks Slightly Different On The Page.

I'm Just Interested In Women's Friendships Generally. It Always Seems To Me, And This Is Just My Pet Theory, That Women Are Kind Of At The Sharp End Of Capitalism One Way Or Another. Mainly Because They Buy Everything. In A Practical Sense, Women Buy Most Things. They're Always Comparing - To Friends, To Famous People, To Other People. An Obsessive Act Of Comparison.

I'm Always Interested In The Way People Speak And Move In Their Environment, In A Very Particular Environment. I'm Never Interested In Writing A Kind Of Neutral, Universal Novel That Could Be Set Anywhere. To Me, The Any Novel Is A Local Thing Always.

Today, Writing Seems To Me Like An Incredible Luxury, Almost A Perversity, Something Which Hardly Exists In The World Anymore, Where You Get To See The Fruits Of Your Actions In A Daily Way.

For Example, You Have These Grotesque, Hilarious, Profane Ghosts In The Book [lincoln In The Bardo]. Even The Concept Of Talking Ghosts Is, From An Aesthetic Point Of View, Grotesque. But You Seem Compelled By That Risk In Order To Get To The Other End Of The Equation.

What Interests Me In [lincoln In The Bardo] Is A Slight Perverse Balance Between The Sublime And The Grotesque. Like You Could Have Landed Only On The Sublime. But My Argument Is That The Sublime Couldn't Exist Without This Other Half.

I Was Thinking About The Generation Before Us, Like John Barth And All Of Those Pomo Dudes Who Had That Idea Of, Instead Of Hiding The Structure And Making It Look Organic And Natural, We're Going To Put The Structure On The Outside. But Most Of The Time, At Least For Me, All I Could Attend To [in Swing Time] Was That Act Of Structural Self-consciousness.

There's A Perception That Novels Can't Usually Allow For Your Kind Of Absolute Attention To Detail.

150 Years Ago In [charles] Dickens's Time There Was At Least A Sense Of Craft. So Some Of The Things People Had Inside Of Them, They Had The Possibility Of Expressing In The Making Of Things - Even In A Daily Way With Their Clothes Or Their Food. People Made A Good Deal Of Both Themselves. Now Our Daily Lives Are Almost All Consumption. Craft Plays A Tiny Role.

[george Saunders] Is Very Precise About What He Is Doing. There Isn't A Thing Left To Chance.