Reviews for Zadie Smith

From Publishers Weekly
Starred Review. "The instruction was simple: make somebody up," explains novelist Smith in her introduction to this marvelous compendium of 23 distinct, pungent stories that attack the question of "character" from all angles. From David Mitchell's hilarious rendering of one menopausal woman's fantasy internet love-affair to ZZ Packer's heart-wrenching Jewish guy-black girl romance, each story is, as Smith puts it, "its own thing entirely." There are moments of prosaic precision (Andrew O'Hagan's eerily incisive "Gordon" is introduced "in the talcum-powdered air of the bathroom muttering calculations and strange moral sums about the cause of Hamlet's unhappiness"), but this volume is more than a showcase for deft prose and quirky souls. Toby Litt's lovely, lyrical "Monster," for example, playfully upends notions of personhood, as does Dave Eggers' surprising "Theo," a moving tale of a mountain who falls in love. Also on hand are a number of wonderful graphic shorts: Daniel Clowe shrewdly explores an insufferable critic's solipsistic lapses, Nick Hornby's "A Writing Life" gives a knowing wink with a series of writer bios and mock headshots, and "Jordan Wellington Lint" by Chris Ware cleverly chronicles the first 13 years of its hero's life. With so much to savor-the sensuality of Adam Thirlwell's "Nigora," the knowingness of George Saunder's "Puppy"-this anthology will sate even the most famished short story fan. Sales benefit Eggers's nonprofit literary organization 826 NYC.
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Publishers Weekly

Truly human, fully ourselves, beautiful," muses a character in Smith's third novel, an intrepid attempt to explore the sad stuff of adult life, 21st century-style: adultery, identity crises and emotional suffocation, interracial and intraracial global conflicts and religious zealotry. Like Smith's smash debut, White Teeth (2000), this work gathers narrative steam from the clash between two radically different families, with a plot that explicitly parallels Howards End. A failed romance between the evangelical son of the messy, liberal Belseys-Howard is Anglo-WASP and Kiki African-American-and the gorgeous daughter of the staid, conservative, Anglo-Caribbean Kipps leads to a soulful, transatlantic understanding between the families' matriarchs, Kiki and Carlene, even as their respective husbands, the art professors Howard and Monty, amass mat riel for the culture wars at a fictional Massachusetts university. Meanwhile, Howard and Kiki must deal with Howard's extramarital affair, as their other son, Levi, moves from religion to politics. Everyone theorizes about art, and everyone searches for connections, sexual and otherwise. A very simple but very funny joke-that Howard, a Rembrandt scholar, hates Rembrandt-allows Smith to discourse majestically on some of the master's finest paintings. The articulate portrait of daughter Zora depicts the struggle to incorporate intellectual values into action. The elaborate Forster homage, as well as a too-neat alignment between characters, concerns and foils, threaten Smith's insightful probing of what makes life complicated (and beautiful), but those insights eventually add up. "There is such a shelter in each other," Carlene tells Kiki; it's a take on Forster's "Only Connect-," but one that finds new substance here.
Agent, Georgia Garett at A.P. Watt.
-- Copyright 2005 Reed Business Information.

The New York Times Book Review, Anthony Quinn
Zadie Smith's debut novel is, like the London it portrays, a restless hybrid of voices, tones and textures.... Smith holds it all together with a raucous energy and confidence that couldn't be a fluke.

From Booklist
White Teeth, a multigenerational, multiethnic, somewhat zany novel, is the ambitious undertaking of first-time novelist Smith. Set in London and spanning more than 25 years, with recollections and accounts back to earlier days, it presents the combined story of the Jones and Iqbal families. The friendship of Archibald and Samad, respectively, the fathers, dates back to their shared, if somewhat bizarre, experiences during World War II. Their much younger wives (Clara Jones, a Jamaican who escaped from her Jehovah's Witness upbringing, and Alsana Iqbal, married because of family arrangements) and the children (a girl for the Jones', twin sons for the Iqbals) become like one family out of habit and self-defense. They grow and change (or not) as the years progress, and there is a sort of predestined circularity of the events and outcomes. Smith has an excellent ear for dialect and a wonderfully descriptive sense in the way she presents the multiethnic underclass.
-- Danise Hoover

From Kirkus Reviews
An impressively witty satirical first novel, London-set, chronicling the experiences of two eccentric multiracial families during the last half of the 20th century. When Archie Joness suicide attempt on New Years Day 1975 is stymied by a finicky butcher (who frowns upon such things taking place in a car parked illegally in front of his establishment, especially when hes awaiting an early morning delivery), his life is changed forever. Lamenting the break up of his marriage, the distraught and disoriented Archiea middle-aged Brit who fancies himself in the direct-mail business but actually spends his life folding papersthen wanders into an end-of-the-world party where he meets his next wife. Jamaican Clara Bowden is 19 to Archies 47, at six feet tall she towers over him, and she's missing all her upper teeth, the result of a motorcycle mishap. Nonetheless, six weeks later the mismatched pair are married and living near Archies WWII buddy Samad Iqbal, a Bengali Muslim. And so begins Smiths frenetic, riotous, unruly tale, which hops, skips, and jumps from one end of the century to the other while following the Jones and Iqbal broods. Archie and Clara have a daughter, Irie, whose name translates into ``no problem'' (although she has plenty of them); Samad, who is head waiter at an Indian restaurant, has twin sons, Millat and Magid. When theyre nine, their father separates the boys, sending Magid back to Bangladesh to be raised the old-fashioned way, far from the corruption of postwar London, filled with its mods and rockers and hippies and Englishmen and other bad influencesincluding Samad himself, who has been lusting after his twins schoolteacher. There isn't much of a plot here, the book being swept along by a series of sometimes hilarious, oft-times clever, occasionally tedious riffs on everything from race relations through eugenics and on to religion, but 25-year-old Smith is a marvelously talented writer with a wonderful ear for dialogue.
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