Barnes & Noble Discover Great New Writers
Smith's debut has been described as "precocious," and our volunteer readers eagerly anticipated the arrival of our reader's copies of this work. In fact, we had planned to highlight this amazing stew of a novel last season. But once we determined its May publication date, we decided that rather than promote a title a month in advance of its publication and frustrate readers who'd have to wait, we'd do so in July with our summer selections. One thing is clear: our claim of Zadie Smith as a "great new writer" is no longer a solo voice-she's since been mentioned in the same breath as Dickens and Rushdie, Proust, Hemingway and Forster (as in E.M.)!
In this remarkable novel set in postwar London, 24-year-old Smith has cleverly created an unlikely friendship between Archie Jones, a simple working-class Brit, and Samad Iqbal, a Muslim Bengali waiter in an Indian restaurant, who meet in the English army in WWII. After the war, the two commiserate over their lives and those of their children; their dreams, disappointments and expectations unfolding with riotous humor as the characters in both generations struggle to carve out their own cultural identities. As Samad himself says, "…you begin to give up the very idea of belonging. Suddenly, this thing, this belonging, it seems like some long, dirty lie."
White Teeth is filled to bursting with all the sights, sounds, tastes and smells of London. Melding races and cultures with a near-perfect ear for dialogue and dialect, and weaving successfully (albeit uproariously) between themes of history, religion, faith and science, Zadie Smith's is a stunning, self-assured debut, and an unforgettable new voice in fiction.
Barnes & Noble Guide to New Fiction
Smith's debut novel is touted as a remarkable look at the immigrant's experience in a post colonial world.
Publishers Weekly - Publisher's Weekly
The scrambled, heterogeneous sprawl of mixed-race and immigrant family life in gritty London nearly overflows the bounds of this stunning, polymathic debut novel by 23-year-old British writer Smith. Traversing a broad swath of cultural territory with a perfect ear for the nuances of identity and social class, Smith harnesses provocative themes of science, technology, history and religion to her narrative. Hapless Archibald Jones fights alongside Bengali Muslim Samad Iqbal in the English army during WWII, and the two develop an unlikely bond that intensifies when Samad relocates to Archie's native London. Smith traces the trajectory of their friendship through marriage, parenthood and the shared disappointments of poverty and deflated dreams, widening the scope of her novel to include a cast of vibrant characters: Archie's beautiful Jamaican bride, Clara; Archie and Clara's introspective daughter, Irie; Samad's embittered wife, Alsana; and Alsana and Samad's twin sons, Millat and Magid. Torn between the pressures of his new country and the old religious traditions of his homeland, Samad sends Magid back to Bangladesh while keeping Millat in England. But Millat falls into delinquency and then religious extremism, as earnest Magid becomes an Anglophile with an interest in genetic engineering, a science that Samad and Millat repudiate. Smith contrasts Samad's faith in providence with Magid's desire to seize control of the future, involving all of her characters in a debate concerning past and present, determinism and accident. The tooth--half root, half protrusion--makes a perfect trope for the two families at the center of the narrative. A remarkable examination of the immigrant's experience in a postcolonial world, Smith's novel recalls the hyper-contemporary yet history-infused work of Rushdie, sharp-edged, fluorescent and many-faceted. Copyright 2000 Cahners Business Information.
Smith has written an epic tale of two interconnected families. It begins with the suicide attempt of hapless, coin-flipping Archibald Jones on New Year's Day, 1975, and ends, after a 100-year ramble back and forth through time, on New Year's Eve, 1992, with his accidental (or preordained?) release of a poor mutant mouse programmed to do away with the randomness of creation. Smith evokes images of teeth throughout the novel. Do they symbolize some characteristic shared by all of humanity in this novel about ethnicity, class, belonging, homeland, family, adolescence, identity, blindness, and ignorance? Or are they meant to distract the reader from the all-encompassing theme of fate? Smith's characters are tossed about by decisions made deliberately, rashly, or by the flip of a coin. As Smith pieces together this story with bits of fabric from different times and places, the reader must contemplate whether our choices determine our future or whether fate leads us to an inevitable destiny. This fine first novel from Smith is most highly recommended for all libraries. [Previewed in Prepub Alert, LJ 1/00.]--Rebecca A. Stuhr, Grinnell Coll. Libs., IA Copyright 2000 Cahners Business Information.\
It's a novel that
announces the debut of a preternaturally
gifted new writer -- a writer who at the
age of 24 demonstrates both an
instinctive storytelling talent and a fully
fashioned voice that's street-smart and
learned, sassy and philosophical all at the
same time. This, White Teeth
announces, is someone who can do comedy, drama and satire, and do
them all with exceptional confidence and brio...In what
will surely rank as one of her generation's most precocious debuts, Ms.
Smith announces herself as a writer of remarkable powers, a writer
whose talents prove commensurate with her ambitions.
The New York Times
...as gut-busting and auspicious a debut novel as Pynchon's V...
The Village Voice
Reminiscent of both Salman Rushdie and John Irving, Teeth is a comic, canny, sprawling tale, adeptly held together by Smith's literary sleight of hand.
The New Yorker
In this multiracial novel of brilliantly hued setups and vivid dialogue what jumps out at you is not the politics of color but the colors themselves.
A rich, ambitious, and often hilarious delight.
This is a strikingly clever and funny book with a passion for ideas, for language, and for the rich tragicomedy of life. . . . [Smith's] characters always ring true; it is her ebullient, simple prose and her generous understanding of human nature that make Zadie Smith's novel outstanding. It is not only great fun to read, but full of hope.
The Times Literary Supplement
A writer of mighty potential.
Poised and relentlessly funny. . . . A major new talent.
At 24, Smith exhibits the best kind of literary audacity. White Teeth is a wild and generous ride, unstinting on comedy and electric with ideas.
Smith has much to say about threats to ethnic identity in the modern world, but her book's real strength lies in the way she says it. Her characters drawn with a commanding sense of detail, her writing style wonderfully sly and often downright funny, and her plot both rollicking and heartfelt, Smith makes a smashing debut on the literary scene. White Teeth just may be the first great novel of the new century.
San Francisco Chronicle Book Review
From the Publisher
Praise for White Teeth
"Zadie Smith's fizzing first novel is about how we all got here-from the Caribbean, from the Indian subcontinent, from thirteenth place in a long-ago Olympic bicycle race-and about what "here" turned out to be. It's an astonishingly assured debut, funny and serious, and the voice has real writerly idiosyncrasy. I was delighted by White Teeth and often impressed. It has . . . bite."
"A rich, ambitious, and often hilarious delight."
"This is a strikingly clever and funny book with a passion for ideas, for language, and for the rich tragicomedy of life. . . . [Smith's] characters always ring true; it is her ebullient, simple prose and her generous understanding of human nature that make Zadie Smith's novel outstanding. It is not only great fun to read, but full of hope."
"A writer of mighty potential."
The Times Literary Supplement
"Poised and relentlessly funny. . . . A major new talent."
"Outstanding... refreshingly upbeat and deserving of all the attention it is getting." -The Evening Standard
"Outstanding... not only great fun to read, but full of hope."
The Sunday Telegraph
"The biggest literary talent for 2000... One of the most impressive first novels of recent years." -The Observer Magazine
"Funny, clever... and a rollicking good read." -The Independent
"Brilliantly written and hugely inspiring." -RED
"A vibrant, multicultural extravaganza." -Marie Claire
"The first publishing sensation of the millennium." -The Observer
"Darting between decades, cultures and generations, this chronicle of immigrant London fizzes with life." -Good Housekeeping
"Gleefully inventive... Zadie Smith's debut announces the debut of a significant new talent." -The List
"Bounding, vibrant, richly imagined and thoroughly engaging." -The Telegraph
"If you buy one book this year, WHITE TEETH should be it." -Livewire Magazine
Read an Excerpt
The Peculiar Second Marriage of Archie Jones
Early in the morning, late in the century, Cricklewood Broadway. At 06.27 hours on 1 January 1975, Alfred Archibald Jones was dressed in corduroy and sat in a fume-filled Cavalier Musketeer Estate face down on the steering wheel, hoping the judgement would not be too heavy upon him. He lay forward in a prostrate cross, jaw slack, arms splayed either side like some fallen angel; scrunched up in each fist he held his army service medals (left) and his marriage license (right), for he had decided to take his mistakes with him. A little green light flashed in his eye, signaling a right turn he had resolved never to make. He was resigned to it. He was prepared for it. He had flipped a coin and stood staunchly by its conclusions. This was a decided-upon suicide. In fact it was a New Year's resolution.
But even as his breathing became spasmodic and his lights dimmed, Archie was aware that Cricklewood Broadway would seem a strange choice. Strange to the first person to notice his slumped figure through the windscreen, strange to the policemen who would file the report, to the local journalist called upon to write fifty words, to the next of kin who would read them. Squeezed between an almighty concrete cinema complex at one end and a giant intersection at the other, Cricklewood was no kind of place. It was not a place a man came to die. It was a place a man came in order to go other places via the A41. But Archie Jones didn't want to die in some pleasant, distant woodland, or on a cliff edge fringed with delicate heather. The way Archie saw it, country people should die in the country and city people should die in the city. Only proper. In death as he was in life and all that. It made sense that Archibald should die on this nasty urban street where he had ended up, living alone at the age of forty-seven, in a one-bedroom flat above a deserted chip shop. He wasn't the type to make elaborate plans—suicide notes and funeral instructions—he wasn't the type for anything fancy. All he asked for was a bit of silence, a bit of shush so he could concentrate. He wanted it to be perfectly quiet and still, like the inside of an empty confessional box or the moment in the brain between thought and speech. He wanted to do it before the shops opened.
Overhead, a gang of the local flying vermin took off from some unseen perch, swooped, and seemed to be zeroing in on Archie's car roof—only to perform, at the last moment, an impressive U-turn, moving as one with the elegance of a curve ball and landing on the Hussein-Ishmael, a celebrated halal butchers. Archie was too far gone to make a big noise about it, but he watched them with a warm internal smile as they deposited their load, streaking white walls purple. He watched them stretch their peering bird heads over the Hussein-Ishmael gutter; he watched them watch the slow and steady draining of blood from the dead things—chickens, cows, sheep—hanging on their hooks like coats around the shop. The Unlucky. These pigeons had an instinct for the Unlucky, and so they passed Archie by. For, though he did not know it, and despite the Hoover tube that lay on the passenger seat pumping from the exhaust pipe into his lungs, luck was with him that morning. The thinnest covering of luck was on him like fresh dew. Whilst he slipped in and out of consciousness, the position of the planets, the music of the spheres, the flap of a tiger-moth's diaphanous wings in Central Africa, and a whole bunch of other stuff that Makes Shit Happen had decided it was second-chance time for Archie. Somewhere, somehow, by somebody, it had been decided that he would live.
The Hussein-Ishmael was owned by Mo Hussein-Ishmael, a great bull of a man with hair that rose and fell in a quaff, then a ducktail. Mo believed that with pigeons you have to get to the root of the problem: not the excretions but the pigeon itself. The shit is not the shit (this was Mo's mantra); the pigeon is the shit. So the morning of Archie's almost-death began as every morning in the Hussein-Ishmael, with Mo resting his huge belly on the windowsill, leaning out and swinging a meat cleaver in an attempt to halt the flow of dribbling purple.
'Get out of it! Get away, you shit-making bastards! Yes! SIX!'
It was cricket, basically—the Englishman's game adapted by the immigrant, and six was the most pigeons you could get at one swipe.
'Varin!' said Mo, calling down to the street, holding the bloodied cleaver up in triumph. 'You're in to bat, my boy. Ready?'
Below him on the pavement stood Varin—a massively overweight Hindu boy on misjudged work experience from the school round the corner, looking up like a big dejected blob underneath Mo's question mark. It was Varin's job to struggle up a ladder and gather spliced bits of pigeon into a small Kwik Save carrier bag, tie the bag up, and dispose of it in the bins at the other end of the street.
'Come on, Mr. Fatty-man,' yelled one of Mo's kitchen staff, poking Varin up the arse with a broom as punctuation for each word. 'Get-your-fat-Ganesh-Hindu-backside-up-there-Elephant-Boy-and-bring-some-of-that-mashed-pigeon-stuff-with-you.'
Mo wiped the sweat off his forehead, snorted, and looked out over Cricklewood, surveying the discarded armchairs and strips of carpet, outdoor lounges for local drunks; the slot-machine emporiums, the greasy spoons and the minicabs—all covered in shit. One day, so Mo believed, Cricklewood and its residents would have cause to thank him for his daily massacre; one day no man, woman or child in the broadway would ever again have to mix one part detergent to four parts vinegar to clean up the crap that falls on the world. The shit is not the shit, he repeated solemnly, the pigeon is the shit. Mo was the only man in the community who truly understood. He was feeling really very Zen about this—very goodwill-to-all-men—until he spotted Archie's car.
A shifty-looking skinny guy with a handlebar moustache, dressed in four different shades of brown, came out of the shop, with blood on his palms.
'Arshad!' Mo barely restrained himself, stabbed his finger in the direction of the car. 'My boy, I'm going to ask you just once.'
'Yes, Abba?' said Arshad, shifting from foot to foot.
'What the hell is this? What is this doing here? I got delivery at 6.30. I got fifteen dead bovines turning up here at 6.30. I got to get it in the back. That's my job. You see? There's meat coming. So, I am perplexed—' Mo affected a look of innocent confusion. 'Because I thought this was clearly marked "Delivery Area".' He pointed to an aging wooden crate which bore the legend NO PARKINGS OF ANY VEHICLE ON ANY DAYS. Well?'
'I don't know, Abba.'
'You're my son, Arshad. I don't employ you not to know. I employ him not to know'—he reached out of the window and slapped Varin, who was negotiating the perilous gutter like a tightrope-walker, giving him a thorough cosh to the back of his head and almost knocking the boy off his perch -'I employ you to know things. To compute information. To bring into the light the great darkness of the creator's unexplainable universe.'
'Find out what it's doing there and get rid of it.'
Mo disappeared from the window. A minute later Arshad returned with the explanation. 'Abba.'
Mo's head sprang back through the window like a malicious cuckoo from a Swiss clock.
'He's gassing himself, Abba.'
Arshad shrugged. 'I shouted through the car window and told the guy to move on and he says, "I am gassing myself, leave me alone." Like that.'
'No one gasses himself on my property,' Mo snapped as he marched downstairs. 'We are not licensed.'
Once in the street, Mo advanced upon Archie's car, pulled out the towels that were sealing the gap in the driver's window, and pushed it down five inches with brute, bullish force.
'Do you hear that, mister? We're not licensed for suicides around here. This place halal. Kosher, understand? If you're going to die round here, my friend, I'm afraid you've got to be thoroughly bled first.'
Archie dragged his head off the steering wheel. And in the moment between focusing on the sweaty bulk of a brown-skinned Elvis and realizing that life was still his, he had a kind of epiphany. It occurred to him that, for the first time since his birth, Life had said Yes to Archie Jones. Not simply an 'OK' or 'You-might-as-well-carry-on-since-you've-started', but a resounding affirmative. Life wanted Archie. She had jealously grabbed him from the jaws of death, back to her bosom. Although he was not one of her better specimens, Life wanted Archie and Archie, much to his own surprise, wanted Life.
Frantically, he wound down both his windows and gasped for oxygen from the very depths of his lungs. In between gulps he thanked Mo profusely, tears streaming down his cheeks, his hands clinging on to Mo's apron.
'All right, all right,' said the butcher, freeing himself from Archie's fingers and brushing himself clean, 'move along now. I've got meat coming. I'm in the business of bleeding. Not counseling. You want Lonely Street. This Cricklewood Lane.'
Archie, still choking on thank yous, reversed, pulled out from the curb, and turned right.
Archie Jones attempted suicide because his wife Ophelia, a violet-eyed Italian with a faint moustache, had recently divorced him. But he had not spent New Year's morning gagging on the tube of a vacuum cleaner because he loved her. It was rather because he had lived with her for so long and had not loved her. Archie's marriage felt like buying a pair of shoes, taking them home and finding they don't fit. For the sake of appearances, he put up with them. And then, all of a sudden and after thirty years, the shoes picked themselves up and walked out of the house. She left. Thirty years.
As far as he remembered, just like everybody else they began well. The first spring of 1946, he had stumbled out of the darkness of war and into a Florentine coffee house, where he was served by a waitress truly like the sun: Ophelia Diagilo, dressed all in yellow, spreading warmth and the promise of sex as she passed him a frothy cappuccino. They walked into it blinkered as horses. She was not to know that women never stayed as daylight in Archie's life; that somewhere in him he didn't like them, he didn't trust them, and he was able to love them only if they wore haloes. No one told Archie that lurking in the Diagilo family tree were two hysteric aunts, an uncle who talked to aubergines and a cousin who wore his clothes back to front. So they got married and returned to England, where she realized very quickly her mistake, he drove her very quickly mad, and the halo was packed off to the attic to collect dust with the rest of the bric-a-brac and broken kitchen appliances that Archie promised one day to repair. Amongst that bric-a-brac was a Hoover.
On Boxing Day morning, six days before he parked outside Mo's halal butchers, Archie had returned to their semi-detached in Hendon in search of that Hoover. It was his fourth trip to the attic in so many days, ferrying out the odds and ends of a marriage to his new flat, and the Hoover was amongst the very last items he reclaimed—one of the most broken things, most ugly things, the things you demand out of sheer bloody-mindedness because you have lost the house. This is what divorce is: taking things you no longer want from people you no longer love.
'So you again,' said the Spanish home-help at the door, Santa-Maria or Maria-Santa or something. 'Meester Jones, what now? Kitchen sink, si?'
'Hoover,' said Archie, grimly. 'Vacuum.'
She cut her eyes at him and spat on the doormat inches from his shoes. 'Welcome, senor.'
The place had become a haven for people who hated him. Apart from the home-help, he had to contend with Ophelia's extended Italian family, her mental-health nurse, the woman from the council, and of course Ophelia herself, who was to be found in the kernel of this nuthouse, curled up in a foetal ball on the sofa, making lowing sounds into a bottle of Bailey's. It took him an hour and a quarter just to get through enemy lines—and for what? A perverse Hoover, discarded months earlier because it was determined to perform the opposite of every vacuum's objective: spewing out dust instead of sucking it in.
'Meester Jones, why do you come here when it make you so unhappy? Be reasonable. What can you want with it?' The home-help was following him up the attic stairs, armed with some kind of cleaning fluid: 'It's broken. You don't need this. See? See?' She plugged it into a socket and demonstrated the dead switch. Archie took the plug out and silently wound the cord round the Hoover. If it was broken, it was coming with him. All broken things were coming with him. He was going to fix every damn broken thing in this house, if only to show that he was good for something.
'You good for nothing!' Santa whoever chased him back down the stairs. 'Your wife is ill in her head, and this is all you can do!'
Archie hugged the Hoover to his chest and took it into the crowded living room, where, under several pairs of reproachful eyes, he got out his toolbox and started work on it.
'Look at him,' said one of the Italian grandmothers, the more glamorous one with the big scarves and fewer moles, 'he take everything, capisce? He take-a her mind, he take-a the blender, he take-a the old stereo—he take-a everything except the floorboards. It make-a you sick. . .'
The woman from the council, who even on dry days resembled a long-haired cat soaked to the skin, shook her skinny head in agreement. 'It's disgusting, you don't have to tell me, it's disgusting ... and naturally, we're the ones left to sort out the mess; it's muggins here who has to -'
Which was overlapped by the nurse: 'She can't stay here alone, can she ... now he's buggered off, poor woman ... she needs a proper home, she needs . . .'
I'm here, Archie felt like saying, I'm right here you know, I'm bloody right here. And it was my blender.
But he wasn't one for confrontation, Archie. He listened to them all for another fifteen minutes, mute as he tested the Hoover's suction against pieces of newspaper, until he was overcome by the sensation that Life was an enormous rucksack so impossibly heavy that, even though it meant losing everything, it was infinitely easier to leave all baggage here on the roadside and walk on into the blackness. You don't need the blender, Archie-boy, you don't need the Hoover. This stuff's all dead weight. Just lay down the rucksack, Arch, and join the happy campers in the sky. Was that wrong? To Archie—ex-wife and ex-wife's relatives in one ear, spluttering vacuum in the other—it just seemed that The End was unavoidably nigh. Nothing personal to God or whatever. It just felt like the end of the world. And he was going to need more than poor whisky, novelty crackers and a paltry box of Quality Street—all the strawberry ones already scoffed—to justify entering another annum.
Patiently he fixed the Hoover, and vacuumed the living room with a strange methodical finality, shoving the nozzle into the most difficult comers. Solemnly he flipped a coin (heads, life, tails, death) and felt nothing in particular when he found himself staring at the dancing lion. Quietly he detached the Hoover tube, put it in a suitcase, and left the house for the last time.
From the Hardcover edition.