Zadie Smith Quotes
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A lot of women, when they're young, feel they have very good friends, and find later on that friendship is complicated. It's easy to be friends when everyone's 18.
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You know, you don't expect everyone to be as educated as everyone else or have the same achievements, but you expect at least to be offered at least some of the opportunities, and libraries are the most simple and the most open way to give people access to books.
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I love to dance, and sing - in the shower, not in public. I'm too old to go raving, but my fondest memories are of that kind of thing - dancing, with lots of people, outside if possible.
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I think I know a thing or two about the way people love, but I don't know anything about hatred, psychosis, cruelty. Or maybe I don't have the guts to admit that I do.
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This is what a woman is: unadorned, after children and work and age, and experience-these are the marks of living.
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When I think of the books I love, there's always a little laughter in the dark.
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I tap danced for ten years before I began to understand people don't make musicals anymore. All I wanted to do was be at MGM working for Arthur Freed or Gene Kelly or Vincent Minelli. Historical and geographical constraints made this impossible. Slowly but surely the pen became mightier than the double pick-up time step with shuffle.
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Writing is my way of expressing - and thereby eliminating - all the various ways we can be wrong-headed.
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I just realized quite early on that I'm not going to be the type who can write a novel every two years. I think you need to feel an urgency about the act. Otherwise, when you read it, you feel no urgency, either. So I don't write unless I really feel I need to, and that's a luxury.
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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.
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World makers, social network makers, ask one question first: 'How can I do it?'
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I wrote 'White Teeth' in the late nineties. I didn't really feel trepidatious about it. It was a different time.
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I have an ambition to write a great book, but that's really a competition with myself. I've noticed that a lot of young writers, people in all media, want to be famous but they don't really want to do anything. I can't think of anything less worth striving for than fame.
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The utterly fallacious idea at the heart of the pro-war argument is that it is the duty of the anti-war argument to provide an alternative to war. The onus is on them to explain just cause.
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The roots of rap are originally ghetto-ised or extremely working class. So when you're an artist who's making something which isn't how its mainstream appearance should be, there's always these strange questions of authenticity and what you have to do to be 'real' as a rapper.
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Novels and stories are sometimes very complex staging grounds to say, in fact, very simple things. Things impossible to say otherwise because they are repeated in so many exploitative contexts - adverts and TV shows and political speeches.
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As far as I'm concerned, if you want to find out about the last day of WWII or the roots of the Indian Mutiny, get thee to a books catalogue.
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Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay.
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A lot of people seem to feel that joy is only the most intense version of pleasure, arrived at by the same road - you simply have to go a little further down the track. That has not been my experience.
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I often worry that my idea of personhood is nostalgic, irrational, inaccurate.
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Normally, young writers have all the time in the world and they don't always use it well.
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It might be useful to distinguish between pleasure and joy. But maybe everybody does this very easily, all the time, and only I am confused.
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No fiction, no myths, no lies, no tangled webs - this is how Irie imagined her homeland. Because homeland is one of the magical fantasy words like unicorn and soul and infinity that have now passed into language.
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The conflation of the simple in style with the morally prescriptive in character, and the complex in style with the amoral or anarchic in character, seems to me one of the most persistently fallacious beliefs held by English students.