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Sometimes Allah punishes and sometimes men have to do it, and it is a wise man who knows if it's Allah's turn or his own.
Zadie Smith
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Zadie Smith
Age: 49
Born: 1975
Born: October 27
Essayist
Novelist
Writer
London
England
Zadie Adeline Smith
Turns
Sometimes
Men
Punishes
Allah
Turn
Wise
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The future's another country, man... And I still ain't got a passport.
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If you're going to write a good book, you have to make mistakes and you have to not be so cautious all the time.
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The very reason I write is so that I might not sleepwalk through my entire life.
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Tell the truth through whichever veil comes to hand - but tell it. Resign yourself to the lifelong sadness that comes from never being satisfied.
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He did not consider if or how or why he loved them. They were just love: they were the first evidence he ever had of love, and they would be the last confirmation of love when everything else fell away.
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It seems to me now that the deep structures [in writing] are often subconscious and set in childhood.
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It has historically been a comfort for the bourgeois and that you can read the most extreme books and not change. You can read A Christmas Carol and not change in any way.
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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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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 guess I've always written more from the opposite perspective, that kind of existentialist perspective which argues that existence precedes essence. And there really isn't anything essential in there - you're the product of your actions, which can always change. And they retrospectively make you one way or another.
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For me, George Saunders novel [Lincoln in the Bardo] is about a problem of pain.
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You are never stronger...than when you land on the other side of despair.
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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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We are so convinced of the goodness of ourselves, and the goodness of our love, we cannot bear to believe that there might be something more worthy of love than us, more worthy of worship. Greeting cards routinely tell us everybody deserves love. No. Everybody deserves clean water. Not everybody deserves love all the time.
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Any woman who counts on her face is a fool.
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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.
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Some people--Samad for example--will tell you not to trust people who overuse the phrase at the end of the day--football managers, estate agents, salesmen of all kinds--but Archie's never felt that way about it. Prudent use of said phrase never failed to convince him that his interlocutor was getting to the bottom of things, to the fundamental
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It seems to me,' said Magid finally, as the moon became clearer than the sun, 'that you have tried to love a man as if he were an island and you were shipwrecked and you could mark the land with an X. It seems to me it is too late in the day for all that.' Then he gave her a kiss on the forehead that felt like a baptism and she wept like a baby.
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