Zadie Smith Quotes
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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.
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Don't romanticise your 'vocation.' You can either write good sentences or you can't. There is no 'writer's lifestyle.' All that matters is what you leave on the page.
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I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the novel is a local thing.
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It's a funny thing about rap, that when you say 'I' into the microphone, it's like a public confession. It's very strange.
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I used to take that God's-eye view as a comfort when I was a child. I'd think, "Well, we couldn't find the world meaningful at all if it weren't for death." Of course, that is the smuggest and most intolerable of all perspectives because I'm not suffering from the death or the pain.
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It's difficult to tell the truth about how a book begins. The truth, as far as it can be presented to other people, is either wholly banal or too intimate.
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When a human being becomes a set of data on a website like Facebook, he or she is reduced. Everything shrinks. Individual character. Friendships. Language. Sensibility.
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It seems that if you put people on paper and move them through time, you cannot help but talk about ethics, because the ethical realm exists nowhere if not here: in the consequences of human actions as they unfold in time, and the multiple interpretive possibility of those actions.
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I suppose I often think of my writing as quite impersonal. But it turned out, when my father died, writing was exactly what I wanted to do.
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The idea that motherhood is inherently somehow a threat to creativity is just absurd.
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I just can't get used to the idea of being somebody unreal in people's minds. I can't live my life like that. And it's just anathema to being a writer. It's not healthy.
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Cambridge was a joy. Tediously. People reading books in a posh place. It was my fantasy. I loved it. I miss it still.
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Women often have a great need to portray themselves as sympathetic and pleasing, but we're also dark people with dark thoughts.
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In my situation, every time I write a sentence, I'm thinking not only of the people I ended up in college with but my siblings, my family, my school friends, the people from my neighborhood. I've come to realize that this is an advantage, really: it keeps you on your toes.
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Some people like just sitting down and being taken for a ride. That's a beautiful thing that fiction can do. But it's not the only thing. In television and film, people are ready to accept any kind of jump cut, but the slightest disturbance on the page ruffles their feathers.
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I recognize myself to be an intensely naive person. Most novelists are, despite frequent pretensions to deep socio-political insight.
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I'm most honest about writing when I'm talking to family or friends, not to newspapers.
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I read Carver. Julio Cortazar. Amis's essays. Baldwin. Lorrie Moore. Capote. Saramago. Larkin. Wodehouse. Anything, anything at all, that doesn't sound like me.
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My short stories have always pushed twenty pages. That's no length for a short story to be. You either do them short like Carver or you stop trying.
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People with children will know this: when the childcare is over, it's over on the dot. You immediately have to go into child mode; there's no down time.
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It's a feeling of happiness that knocks me clean out of adjectives. I think sometimes that the best reason for writing novels is to experience those four and a half hours after you write the final word.
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My life is black and white and mixed. My mother's a Rastafarian, my dad was a short white guy - it's not an affectation. It's also the lives of millions of people throughout the world.
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Fate is a quantity very much like TV: an unstoppable narrative, written, produced and directed by somebody else.
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Something in me was changed by Lincoln in the Bardo, and the great sublime/grotesque risk of [George Saunders'] ghosts was a part of it.