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Book: Changing My Mind: Occasional Essays
Quotes of Book: Changing My Mind: Occasional
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  1. Zadie Smith _ Changing My Mind: Occasional

    Here's the funny thing about literary criticism: it hates its own times, only realizing their worth twenty years later. And then, twenty years after that, it wildly sentimentalizes them, out of nostalgia for a collective youth. Condemned cliques become halcyon "movements" annoying young men, august geniuses.
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  2. Zadie Smith _ Changing My Mind: Occasional

    All I write is, to me, sentimental. A book which doesn't leave people either happier or better than it found them, which doesn't add some permanent treasure to the world, isn't worth doing… This is my "theory", and I maintain it's sentimental - at all events it isn't Flaubert's. How can he fag himself to write "Un Coeur Simple"?
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  3. Zadie Smith _ Changing My Mind: Occasional

    In England, we once had an insulting name for such people: trimmers. In the mid-1600s, a trimmer was any politician who attempted to straddle the reviled middle ground between Cavalier and Roundhead, Parliament and the Crown; to call a man a trimmer was to accuse him of being insufficiently committed to an ideology.
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  4. Zadie Smith _ Changing My Mind: Occasional

    We're all black, and we all love to be black, and we all sing from our own hymn sheet. We're all surely black people, but we may be finally approaching a point of human history where you can't talk up or down to us anymore, but only to us. He's talking down to white people-how curious it sounds the other way round! In order to say such a thing, one would have to think collectively of white people, as a people of one mind who speak with one voice-a thought experiment in which we have no practice. But it's worth trying. It's only when you play the record backward that you hear the secret message. 3
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  5. Zadie Smith _ Changing My Mind: Occasional

    because white novelists are not white novelists but simply "novelists," and white characters are not white characters but simply "human," and criticism of both is not partial or personal but a matter of aesthetics. Such critics will always sound like the neutral universal, and the black women who have championed Their Eyes Were Watching God in the past, and the one doing so now, will seem like black women talking about a black book.
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  6. Zadie Smith _ Changing My Mind: Occasional

    Uno dei più grandi sogni di autenticità dell'avanguardia è questa possibilità di diventare criminali, di condividere la sorte di Genet e John Fante, dei freak, dei perduti, degli emarginati. {Con la notevole eccezione di J.G. Ballard, autore di quello che è forse il miglior romanzo britannico d'avanguardia, La mostra delle atrocità, che allevò da solo tre figli nella tranquillità domestica di una villetta bifamiliare di Shepperton.} Per l'avanguardia inglese, l'esperienza di vita estrema è diventata un marchio di autenticità letteraria: il fatto che Alexander Trocchi e Anna Kavan facessero uso di droga è, per i loro lettori, almeno altrettanto importante della loro prosa.
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  7. Zadie Smith _ Changing My Mind: Occasional

    The only thing to see is the obligatory third-world Coke billboard, ironic in exact proportion to the distance from its proper American context. This one says COKE-MAKE IT REAL. Just after the Coke sign there is a contrary sign, an indication that irony is not a currency in Liberia. It is worn by a girl who leans against the exit in a T-shirt that says THE TRUTH MUST BE TOLD.
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  8. Zadie Smith _ Changing My Mind: Occasional

    These forms of criticism that make black women the privileged readers of a black woman writer go against Hurston's own grain. She saw things otherwise: "When I set my hat at a certain angle and saunter down Seventh Avenue. . . . the cosmic Zora emerges. . . . How can anybody deny themselves the pleasure of my company? It's beyond me!" This is exactly right. No one should deny themselves the pleasure of Zora-of whatever color or background or gender.
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  9. Zadie Smith _ Changing My Mind: Occasional

    In place of negative falsification, we have nurtured, in the past thirty years, a new fetishization. Black female protagonists are now unerringly strong and soulful; they are sexually voracious and unafraid; they take the unreal forms of earth mothers, African queens, divas, spirits of history; they process grandly through novels thick with a breed of greeting-card lyricism. They have little of the complexity, the flaws and uncertainties, depth and beauty of Janie Crawford and the novel she springs from.
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  10. Zadie Smith _ Changing My Mind: Occasional

    Those who read Middlemarch in that way will find little in Their Eyes Were Watching God to please them. It's about a girl who takes some time to find the man she really loves. It is about the discovery of self in and through another.
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  11. Zadie Smith _ Changing My Mind: Occasional

    You need a certain head on your shoulders to edit a novel, and it's not the head of a writer in the thick of it, nor the head of a professional editor who's read it in twelve different versions. It's the head of a smart stranger who picks it off a bookshelf and begins to read. You need to get the head of that smart stranger somehow. You need to forget you ever wrote that book.
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  12. Zadie Smith _ Changing My Mind: Occasional

    In the case of On Beauty, my OPD spun completely out of control: I reworked those first twenty pages for almost two years. To look back at all past work induces nausea, but the first twenty pages in particular bring on heart palpitations. It's like taking a tour of a cell in which you were once incarcerated.
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