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Books on the topic 'Zadie Smith'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 April 2022

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1

Zadie Smith. New York: Palgrave Macmillan, 2010.

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2

Tew, Philip. Zadie Smith. New York: Palgrave Macmillan, 2010.

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3

Walters, Tracey Lorraine. Zadie Smith. New York: Marshall Cavendish Benchmark, 2013.

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4

Tew, Philip. Zadie Smith. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-06359-5.

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5

photographer, Hafejee Salim, ed. Reading London's Suburbs: From Charles Dickens to Zadie Smith. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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6

Kalpakli, Fatma. British novelists and Indian nationalism: Contrasting approaches in the works of Mary Margaret Kaye, James Gordon Farrell and Zadie Smith. Bethesda: Academica Press, 2010.

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7

Kalpakli, Fatma. British novelists and Indian nationalism: Contrasting approaches in the works of Mary Margaret Kaye, James Gordon Farrell and Zadie Smith. Bethesda: Academica Press, 2010.

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8

Walters, Tracey L. Zadie Smith. Cavendish Square, 2013.

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9

Lorraine, Walters Tracey, ed. Zadie Smith: Critical essays. New York: Peter Lang, 2007.

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10

From John Buchan to Zadie Smith. Penguin Books, Limited, 2015.

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11

Zadie Smith White Teeth and Multiculturalism. Grin Verlag, 2007.

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12

Zadie, Smith, ed. Zadie Smith introduces The burned children of America. London ; New York: Hamish Hamilton, 2003.

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13

Reading Zadie Smith: The First Decade and Beyond. Bloomsbury Publishing Plc, 2014.

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14

Reading Zadie Smith The First Decade And Beyond. Continuum Publishing Corporation, 2013.

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15

Simmons, D., and N. Allen. Reassessing the Twentieth-Century Canon: From Joseph Conrad to Zadie Smith. Palgrave Macmillan, 2014.

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16

Reassessing the Twentieth-Century Canon: From Joseph Conrad to Zadie Smith. Palgrave Macmillan, 2014.

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17

Busted in New York and Other Essays: With an Introduction by Zadie Smith. Quercus, 2020.

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18

The Penguin Book of the British Short Story: II: From P.G. Wodehouse to Zadie Smith (Penguin Modern Classics). Penguin Classic, 2017.

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19

Vadde, Aarthi. Chimeras of Form. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231180245.001.0001.

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In Chimeras of Form, Aarthi Vadde vividly illustrates how modernist and contemporary writers reimagine the nation and internationalism in a period defined by globalization. She explains how Rabindranath Tagore, James Joyce, Claude McKay, George Lamming, Michael Ondaatje, and Zadie Smith use modernist literary forms to develop ideas of international belonging sensitive to the afterlife of empire. In doing so, she shows how this wide-ranging group of authors challenged traditional expectations of aesthetic form, shaping how their readers understand the cohesion and interrelation of political communities. Drawing on her close readings of individual texts and on literary, postcolonial, and cosmopolitical theory, Vadde examines how modernist formal experiments take part in debates about transnational interdependence and social obligation. She reads Joyce's use of asymmetrical narratives as a way to ask questions about international camaraderie, and demonstrates how the "plotless" works of Claude McKay upturn ideas of citizenship and diasporic alienation. Her analysis of the contemporary writers Zadie Smith and Shailja Patel shows how present-day issues relating to migration, displacement, and economic inequality link modernist and postcolonial traditions of literature. Vadde brings these traditions together to reveal the dual nature of internationalism as an aspiration, possibly a chimeric one, and an actual political discourse vital to understanding our present moment.

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20

Brazil, Kevin. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824459.003.0005.

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In conclusion, this short chapter surveys the ways in which the novelists discussed in this book have become reference points for contemporary debates about the legacy of modernism and experimentation among novelists such as Teju Cole, Zadie Smith, and Ben Lerner. It also surveys how contemporary novelists’ engagements with art are being driven by different concerns than those of earlier writers—attempts to blur the lines between autobiography and fiction, or to recover the political and aesthetic potential of wonder and enchantment. In doing so, it shows how the interactions between art and the novel traced in this book have become part of literary history.

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21

Young, Emma. Contemporary Feminism and Women's Short Stories. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427739.001.0001.

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The short story has received renewed attention and notable popular acclaim in the twenty-first century. This book offers a wide-ranging survey of contemporary women’s short stories and introduces a new way of theorising feminism in the genre through the concept of ‘the moment’. By considering the prominent themes of motherhood, marriage, domesticity, sexuality, masculinity and femininity, this work engages with a spectrum of issues that are central to feminism today and, in the process, offers insightful new readings of the contemporary short story. Readers will find new perspectives on both canonical as well as lesser-discussed contemporary writers, including Kate Atkinson, Nicola Barker, A.S. Byatt, Aminatta Forna, Victoria Hislop, Jackie Kay, Andrea Levy, Hilary Mantel, Kate Mosse, Michèle Roberts, Ali Smith, Zadie Smith and Rose Tremain. While serving as a comprehensive introduction to the central themes of feminist politics, the study shows what makes the short story a desirable literary vehicle for creatively and critically contributing to feminist debates.

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22

Morey, Peter. Black British and British Asian Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749394.003.0029.

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This chapter explores some issues in black British and British Asian fiction since the 1980s. It shows certain key characteristics of the white British apprehension of those non-white imperial subjects who, after decolonization, were to arrive, in increasing numbers, on British shores. This chapter takes a sample of five writers — three women and two men — and explores those key recurring themes that give a unity to their otherwise very different novels. Through the work of Caryl Phillips, Andrea Levy, Zadie Smith, Hanif Kureishi, and Monica Ali, this chapter traces the persistence of issues of race and racism. The chapter also considers the importance of recuperating black history, the rise of identity politics, and the tenacity with which the gaze of the racial Other — whether white on black or black on white — fixes its object in the expectation of certain forms of limiting and supposedly ‘authentic’ behaviour.

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23

Masters, Ben. Twenty-First-Century Excess. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198766148.003.0005.

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This chapter evaluates the legacy of Burgess, Carter, and Amis by examining the work of a new generation of excessive English stylists, including Zadie Smith, Nicola Barker, and David Mitchell. It begins by showing how arguments similar to those made against stylistic prolixity in the aftermath of World War Two have resurfaced post-9/11. It goes on, through close readings of three novels (NW, Darkmans, Cloud Atlas), to show how this newer generation of writers has adapted and expanded the methods of the earlier stylists of excess by staging a return to ideas of character, interiority, and empathy in a way that still prioritizes authorial style and amplitude. With reference to Dorothy Hale’s notion of the aesthetics of alterity, it shows how these authors have made innovative use of free indirect style and polyphony to create a critical empathy that self-reflexively trains us to apprehend its own limitations.

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24

Masters, Ben. Novel Style. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198766148.001.0001.

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Re-examining elaborate English stylists from the post-war period to the present day (including Anthony Burgess, Angela Carter, Martin Amis, Zadie Smith, Nicola Barker, and David Mitchell) through a fresh style of ethical criticism that does not over-rely on notions of character and interiority (the terrain of the ‘humanist revival’), and that returns the author to centre-stage (contra the approach of the ‘new ethics’, with its indebtedness to poststructuralism), Novel Style defends the stylistic excesses of writers who were conscious of both writing out of excessive times and of the need for new kinds of artistic response to contemporary ethical pressures. Through its methodology, Novel Style calls for a return to close reading and aesthetic evaluation and recovers its subjects from theoretical quagmires by repositioning them as stylists and ethicists, arguing that the two positions are inextricable. For example, it considers how forms of stylistic excess—ranging from puns and wordplay to long sentences, proliferating imagery, repetitions, idiosyncratic rhythms, multiple levels of narration, and variable points of view—might enact ethically-charged dynamics like curiosity, particularity, complexity, and empathy. As well as being an impassioned defence of literary excess, flamboyance, and close reading, Novel Style asks fundamental questions about how novels think, see, and feel, and how they might change us.

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25

Dancer, Thom. Critical Modesty in Contemporary Fiction. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192893321.001.0001.

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From climate catastrophe to pandemics and economic crises, the problems facing humanity today are impossibly complicated and planetary in scale. Critical Modesty in Contemporary Fiction makes the surprising but compelling claim that it is precisely by culitvating a modest temperament that contemporary fiction can play an central role in conbating the despair that many of us feel in the face of such enormous and intractable problems. This new temperament of critical modesty locates the fight for freedom and human dignity within the limited and compromised conditions in which we find ourselves. Through readings of Ian McEwan, Zadie Smith, J. M. Coetzee, and David Mitchell, Critical Modesty in Contemporary Fiction shows us how contemporary works of literature model modesty as a critical temperament. Exploring modest forms of entangled human agency that represent an alternative to the novel of the large scale that have been most closely associated with the Anthropocene, Dancer builds a case that the novel has the potential to play a more important socio-cultural role than it has done. In doing so, the book offers an engaging response to the debate over post-critical and surface readings, bringing novels themselves into the conversation and arguing for a fictional mode that is both critical and modest, reminding us how much we are already engaged with the world, implicated and compromised, before we start developing theories, writing stories, or acting within it.

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