Quote

The object of the passion is just an accessory to the passion itself.

Zadie Smith

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Zadie Smith
Age: 49
Born: 1975
Born: October 27
Essayist
Novelist
Writer
London
England
Zadie Adeline Smith
Accessories
Object
Objects
Passion
Accessory

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He traced the genealogy of the feeling.
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...They cannot escape their history any more than you yourself can lose your shadow.
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You become a different writer when you approach a short story. When things are not always having to represent other things, you find real human beings begin to cautiously appear on your pages.
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The future's another country, man... And I still ain't got a passport.
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She represents love, beauty, purity, the ideal female and the moon...and she's the mystère of jealousy, vengeance and discord, AND, on the other hand, of love, perpetual help, goodwill, health, beauty and fortune.
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He was bookish, she was not he was theoretical, she political. She called a rose a rose. He called it an accumulation of cultural and biological constructions circulating around the mutually attracting binary poles of nature/artifice.
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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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He had her in his heart, but not always in his mind.
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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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Desire is never final, desire is imprecise and impractical [...]
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English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.
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Each couple is its own vaudeville act.
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Revelation is where all crazy people end up. It's the last stop on the nutso express.
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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.
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I'm a writer who never writes about sex. It's so far from my own fictional world.
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It's gotten to a point where everybody is concerned about their rights and nobody is concerned about their duties.
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In the end, your past is not my past and your truth is not my truth and your solution - is not my solution.
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I am the sole author of the dictionary that defines me.
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The world is now multicultural the same way the world is round. It's not a selling point, it's not a 'quirky' feature, it's not a cynical marketing ploy, it's not an artistic statement, it's not even a plot device. It's a fact, like seedless grapes.
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Then you begin to give up the very idea of belonging. Suddenly this thing, this belonging,it seems like some long, dirty lie ... and I begin to believe that birthplaces are accidents, that everything is an accident. But if you believe that, where do you go? What do you do? What does anything matter?
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