If I’ve learned one thing in the last few years, it’s that picking up a new Zadie Smith essay collection is going to send me down a rabbit hole of knowledge-seeking about artists and writers and musicians whom I have never heard of. That book is also going to cost me some money because when I read Zadie Smith’s essays, I’ll almost always learn about a book that I didn’t know existed but that I must buy and read immediately.
This time, the essay collection is Dead or Alive, and the book that I must buy is Hilary Mantel’s Beyond Black. I thought that I had read all of Hilary Mantel’s novels, and I had resigned myself to the knowledge that there wouldn’t be any more new ones coming because Hilary Mantel died in 2022, may she rest in peace.
Zadie Smith loves Hilary Mantel just as much as I do because of course she does, because she has flawless taste. She knew Mantel personally and recalls a conversation about the then work-in-progress Wolf Hall, describing Mantel’s animated explanation of her forthcoming book as a performance worthy of any stage. Zadie Smith didn’t read Wolf Hall until Bring Up the Bodies and The Mirror and the Light had been published, and was just as awestruck as everyone else who read Mantel’s Thomas Cromwell trilogy. Who would ever have thought that Henry VIII’s henchman and consigliere and victim would be the best literary character since Jo March or David Copperfield or Dorothea Brooke?
Not only Hilary Mantel, but Flannery O’Connor, Muriel Spark, Joan Didion, Martin Amis, Philip Roth, Shakespeare, and Dickens all make appearances at some point in these essays. So do Stormzy, Madonna, and Eminem. A Zadie Smith essay collection is a bit of a party. You're lucky to be invited, and you never know who’s going to show up.
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Zadie Smith sometimes writes about her childhood and youth in London. Her father was a white Englishman and her mother a Jamaican immigrant. She writes about what it was like to be a mixed-race child in 1980s and 1990s Britain. She writes with sadness and anger about the erosion of Britain’s social welfare system, which allowed her working-class parents to build a good life and to provide for their children.
I love all of her personal writing, but she’s best and funniest when she writes about her mess of a teenage self - self-centered, self-important, self-dramatizing, messy and petulant and stubborn but also sensitive, brilliant, and hilarious. She writes about being a teenager like she really remembers what it was like and like she fondly remembers and accepts her teenage self, flaws and all. I was also a mess of a young person, and only began to think kindly about my teenage self when I had teenagers of my own and finally understood that they’re pretty much all self-centered, self-important, self-dramatizing, messy and petulant and stubborn but also sensitive, brilliant, and hilarious in their own way.
In addition to the writers and artists and musicians I learned more about while reading Dead or Alive, I also learned something new about Zadie Smith, which is that she once fell from an upper floor window, breaking several bones and spending months recovering while also figuring out how to respond to the rumors that her fall was an intentional attention grab or a suicide attempt. The truth is that she was trying to look interesting while smoking a cigarette out the window of her teenage bedroom, and she lost her balance and toppled out of the open window. I never smoked as a teenager, and I never fell out of a window, but I did many many stupid things while trying to look interesting or cool, and sometimes those stupid things had even stupider consequences. Here’s something that Zadie Smith and I have in common with every other person born before 1985 or so - little or no video evidence of our stupidity exists. Thank God we didn’t have access to social media in the 80s, because we did stupid things all day long, and we thought we were hilarious, and we would have documented everything.
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“Men can always be blind to a thing so long as it is big enough.” That is Zadie Smith quoting yet another writer, G.K. Chesterton, about whom I have mixed feelings. But here he’s dead right, and so is Zadie Smith, pointing out the unfortunate human tendency to fall for frauds and charlatans and to fail to see the truth even when it’s right in front of them. Zadie Smith can write about art, literature, history, or music from any decade or even any century, but she’s never not relevant to the present moment. Lucky for me, I haven’t read all of her novels yet. I’ll get on that next.