Zadie Smith: The Interview
One of the most heavily anticipated literary events of this fall is Zadie Smith’s new novel, Swing Time (PRH/Penguin; Penguin Audio/BOT), set for release on Nov. 15. Previewed on the majority of the fall reading lists, it a Carnegie Medal Longlist title, and a LibraryReads selection for November, with the following annotation:
“Spanning over twenty years and two continents, Smith’s new novel is a charming account of one woman’s coming-of-age. Smith’s unnamed narrator, a mixed-race child lives in one of London’s many low-end housing units. She meets Tracey and the two are bonded over the shared experience of being poor and ‘brown’ in a class that is predominantly white. As the two stumble towards womanhood, the differences become more stark and divisive, and their friendship is fractured by Tracey’s final, unforgivable act. This book will appeal to lovers of character-driven fiction.” — Jennifer Wilson, Delphi Public Library, Delphi, IN
This week’s NYT‘s Style Magazine T, gets a jump on the more literary media, featuring an interview with the author by fellow novelist Jeffrey Eugenides. The two have clearly been friends for some time, resulting in an interview that comes across as an intimate, personal, somewhat confessional conversation.
Some highlights:
Smith says that therapy which has helped her write more confidently and in new ways, allowing her to use the first person voice in Swing Time, “I’ve always felt very cringe-y about myself … It did seem to me, when I was a kid and also now that I’m a grown-up writer, that a lot of male writers have a certainty that I have never been able to have. I kept on thinking I would grow into it, but I’m never sure I’m doing the right thing.”
About Swing Time Eugenides says “Like the black-and-white musicals that feature in its pages, the book is a play of light and dark — at once an assertion of physicality and an illusion … The novel cloaks existential dread beneath the brightest of intensities.”
Much of the profile is about her search for and expressions of identity. Of her own self, Smith says she aspires to be more like Darryl Pinckney, who “claims the freedom” of just being himself “in all his extreme particularity.” Eugenides responds that she “already seems that way” to him. After a pause she replies, “Oh” and the interview ends.
Accompanying the article is a video of Smith in the first person.