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It's not in good taste to have talking ghosts in a grown-up novel.

Zadie Smith

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Zadie Smith
Age: 49
Born: 1975
Born: October 27
Essayist
Novelist
Writer
London
England
Zadie Adeline Smith
Good
Ghosts
Grown
Ghost
Taste
Novel
Talking

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When I see my friends engaging in a Twitter war for an afternoon, I think that would destroy me for a month.
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She did what girls generally do when they don't feel the part: she dressed it instead.
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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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... don't ever underestimate people, don't ever underestimate the pleasure they receive from viewing pain that is not their own... Pain by itself is just Pain. But Pain + Distance can = entertainment, voyeurism, human interest, cinéma vérité, a good belly chuckle, a sympathetic smile, a raised eyebrow, disguised contempt.
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The really heroic thing about Nick Hornby is that he lives in north London and rarely leaves it... Every English writer needs their corner that is forever England - but only a few brave men choose to make that corner Highbury.
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It's got two aspects. The bit that involves the public life I could not really tolerate and cannot really tolerate. 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.
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The end is simply the beginning of an even longer story.
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It was in the air, or so it seemed to Kiki, this hatred of women and their bodies- it seeped in with every draught in the house people brought it home on their shoes, they breathed it in off their newspapers. There was no way to control it.
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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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English fiction was something I loved growing up, and it changed my life - it changed the trajectory of my life.
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People profess to have certain political positions, but their conservatism or liberalism is really the least interesting thing about them.
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To me, these kind of everyday miseries act as a fatal disqualifier. My sunniest beliefs are basically contingent on the fact that my child is not dying of cancer right now.
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When I was young, I was very technical about these things. I didn't like to admit to any intimate relation with what I was writing.
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All my books are made up of other books. They're all deeply structured on other fiction, because I was a student in fiction and I didn't have much actual living to draw on. I suspect a lot of other people's novels are like that, too, though they might be slower to talk about it.
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I like books that don't give you an easy ride. I like the feeling of discomfort. The sense of being implicated.
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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 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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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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For me, [deep structures] might be something very simply to do with the split in my family. That's why I'm always thinking about opposites. It's so childish, really, but that might be simply what it is.
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I lost many literary battles the day I read 'Their Eyes Were Watching God.' I had to concede that occasionally aphorisms have their power. I had to give up the idea that Keats had a monopoly on the lyrical.
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