About Zadie Smith: Zadie Smith is an English novelist, essayist, and short story writer.
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 migh...
Any artist who aligns themselves with a politician is making a category error because what politicians do is not on a human scale, it is on a geopolitical scale.
There's constantly this melancholy about British hip-hop. People are always waiting for it to explode like American hip-hop, but it might just be that British hip-hop will always be as it is: an underground thing which will stay that way.
I just realized quite early on that I'm not going to be the type who can write a novel every two years. I think you need to feel an urgency about the act. Otherwise, when you read it, you feel no urgency, either. So I don't write unless I really feel...
That's the thing about fiction writers: what seems alarming or particular or perverse about them is simply the shape of their brain - they cannot be otherwise.
Nabokov, who I loved more than any other writer when I was young, had such contempt for dialogue. When I was younger, I never wrote a word of dialogue because of him. I thought it was a childish part of a novel.
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 pa...
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.
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.
World makers, social network makers, ask one question first: 'How can I do it?'
I noticed in America that if you write a book of any kind, you're made to be the representative of all the issues that might surround it.
I want to write without shame or pride or over-compensation in one direction or another. To write freely.
There is no bigger crime, in the English comic novel, than thinking you are right.
Like all readers, I want my limits to be drawn by my own sensibilities, not by my melanin count.
One thing you can't intend is how you will be read. I hear it said a lot that my books are about the 'search for identity', and this is said admiringly, as if I meant to encourage such a search.
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.
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.
I wouldn't write about people who are living and who are close to me, because I think it's a very violent thing to do to another person. And anytime I have done it, even in the disguise of fiction, the results have been horrific.
And I'm not going to get any thinner or any younger, my ass is going to hit the ground, if it hasn't already--and I want to be with somebody who can still see me in here. I'm still in here. And I don't want to be resented or despised for changing...I...
I have known many true connoisseurs, with excellent tastes that range across the humanities and the culinary arts--and they never fail to have a fatal effect on my self-esteem. When I find myself sitting at dinner next to someone who knows just as mu...
Boys are just boys after all, but sometimes girls really seem to be the turn of a pale wrist, or the sudden jut of a hip, or a clutch of very dark hair falling across a freckled forehead. I'm not saying that's what they really are. I'm just saying so...
