Zadie Smith Quotes

We are split people. For myself, half of me wishes to sit quietly with legs crossed, letting the things that are beyond my control wash over me. But the other half wants to fight a holy war. Jihad! And certainly we could argue this out in the street, but I think, in the end, your past is not my past and your truth is not my truth and your solution---it is not my solution. So I do not know what it is you would like me to say. Truth and firmness is one suggestion, though there are many people you can ask if that answer does not satisfy. Personally, my hope lies in the last days. The prophet Muhammad---peace be upon Him!---tells us that on the Day of Resurrection everyone will be struck unconscious. Deaf and dumb. No chitchat. Tongueless. And what a bloody relief that will be.

In the end, your past is not my past and your truth is not my truth and your solution - is not my solution.

You must live life with the full knowledge that your actions will remain. We are creatures of consequence.

She measured time in pages. Half an hour, to her, meant ten pages read, or fourteen, depending on the size of the type, and when you think of time in this way there isn’t time for anything else.

Girls either wanted him or wanted to improve him, but most often a combination of the two. They wanted to improve him until he justified the amount they wanted him.

American houses...' she said, peering over her right shoulder and down the street. 'They always seem to believe that nobody ever loses anything, has lost anything. I find that very sad. Do you know what I mean?

By Allah, how _thankful_ he is (_yes, madam, one moment, madam_), how _gladdened_ by the thought that Magid, Magid at least, will, in a matter of four hours, be flying east from this place and its demands, its constant cravings, this place where there exists neither patience nor pity, where the people want what they want _now_, right now (_We've been waiting twenty minutes for the vegetables_), expecting their lovers, their children, their friends, and even their gods to arrive at little cost and in little time, just as table ten expect their tandoori prawns. . . .

I don’t want your babies, Felix. I can assure you I’m not sitting up here like some tragic fallen woman every night dreaming of having your babies.” She began tracing a figure of eight with her fingernail along his stomach. The movement looked idle but the nail pressed in hard. “You realize of course that if it were the other way round there would be a law, there would be an actual law: John versus Jen in the high court. And John would put it to Jen that she did wilfully fuck him for five years, before dumping him without warning in the twilight of his procreative window, and taking up with young Jack-the-lad, only twenty-four years old and with a cock as long as my arm. The court rules in favor of John. Every time. Jen must pay damages. Huge sums. Plus six months in jail. No—nine. Poetic justice.

One just has to look at the thing from a perspective that interests you personally.

Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra—they’ll take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigour when I’m too sentimental, to bring verbal ease when I’m syntactically uptight. I think of reading like a balanced diet; if your sentences are baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If your aesthetic has become so refined it is stopping you from placing a single black mark on white paper, stop worrying so much about what Nabokov would say; pick up Dostoyevsky, patron saint of substance over style.

Those are my bougainvillea—I got Victoria to plant them today, but I don;t know if they will survive. But Right now they have the appearance of survival, which is almost the same thing.

He had liked to listen to the exotic (to a Belsey) chatter of business and money and practical politics; to hear that Equality was a myth, and Multiculturalism was a fatuous dream; he thrilled at the suggestion that Art was a gift from God, blessing only a handful of masters, and most Literature merely a veil for poorly reasoned left-wing ideologies.

Q: Where and when do you do your writing? A: Any small room with no natural light will do. As for when, I have no particular schedules... afternoons are best, but I'm too lethargic for any real regime. When I'm in the flow of something I can do a regular 9 to 5; when I don't know where I'm going with an idea, I'm lucky if I do two hours of productive work. There is nothing more off-putting to a would-be novelist to hear about how so-and-so wakes up at four in the a.m, walks the dog, drinks three liters of black coffee and then writes 3,000 words a day, or that some other asshole only works half an hour every two weeks, does fifty press-ups and stands on his head before and after the "creative moment." I remember reading that kind of stuff in profiles like this and becoming convinced everything I was doing was wrong. What's the American phrase? If it ain't broke...

To her credit, though, Trace didn't lose her famous temper, not at that moment. At eighteen she was already expert at the older woman's art of fermenting rage, conserving it, for later use.

You don’t come to live here unless the delusion of a reality shaped around your own desires isn’t a strong aspect of your personality. 'A reality shaped around your own desires' — there is something sociopathic in that ambition.

At a certain point you have to leave childish things behind, and one of the childish things is a sense that 'Wow, I can draw' or in my case 'Wow, I can read'... You feel you have what's called a talent, but as you become an adult, if you hope to make things, you have to give up the preoccupation with talent otherwise you'll spend your life painting beautiful pictures of fruit bowls that look like fruit bowls.