It is both the winner of the Guardian First Book Award and one of TIME Magazine’s 100 best English-language Novels from 1923 to 2005.
It is Smith’s unafraid approach to her debut and her evident ambition that caused White Teeth to receive unprecedented approval from both critics and readers alike. It is completely compelling piece of literature that is rid of the qualms and introversions of any other debut novel. It’s on Kilburn High Road.Zadie Smith’s debut novel, White Teeth, is both epic and intimate. It’s at the newly refurbished Kiln Theatre. That heightened sense brings at its best an emotional punch and a sensory feast – a form uniquely theatrical over novelistic. The addition of zinging movement and catchy songs brings White Teeth elements of the musical form. Many times.”) reveals the elements of story and character that reflect a British-born immigrant narrative.
Losing the intensity of reading Zadie’s sentences (Zadie: “Edit as I go Along. A truism to say a play is not a novel, but adaptations can fall foul of the gravity and anchor of the originating work. It riffs on the novel, but is not slaved to it. But – to the team’s enormous credit – the play is its own piece of art. It mixes culture and a certain optimism (an optimism of a youthful writer?) with an opposing fatalism and sense of doom.
Where race, culture, Englishness and a sweep of history collide and you can see part of yourself reflected on the stage – it makes for a play of our times.Īs I’ve mentioned before (link end) my life has echoes of Zadie Smith’s (West London / NW London – Cambridge – May Anthologies – Harvard – writing – race) and White Teeth echoes with a time and place, which is partly my time and place growing up.
A play based in one of your local neighborhoods (or right next door to your ‘hood) is rare. Watching a play that a friend (Stephen Sharkey) has written is a different experience from an arms-length stranger.
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