Criticism of ‘Grand Union’, by Zadie Smith: adoration of the fragment

How easy it is to think that when a writer writes a story like an exorcism about the creative act he is talking about himself. Ensure that Zadie Smith has this intention, and integrates it, as a part of the explanation of his literary credentials, at least in respect of his first collection of relations, ‘Grand Union’. When the depressed writer of ‘Bloqueo’ has his “parallel projects”, his irreparable tendency to become angry at the “vehicles of distraction”, by his enthusiasm for feeling straightforward and free, using a theme like another one in primavera, is not what defines the spirit of the book? “Adoro los fragmentos (& mldr;) Alabo las cosas a medias, inacabadas, rotas, ¡los cascotes!”, Exclama. It is not necessary to work from the remnants of the nufragio, to make heterogeneity a style figure: each relation of ‘Grand Union’ participates in the prose saltarina, sabia y critique de smith but it is, in itself, a surprise.

Sometimes the surprises of the night, as if they were bromine fires. When Smith approached the dystopian relationship, he appeared in love with his party opponents. Claro, will not admire the tocata and fugue of Elizabeth Taylor, Marlon Brando and Michael Jackson during the 11-S in ‘New York City’. The Peso de Historia, the themes that center the opinion columns of the periodicals that Smith frequents, always like the moron, as a narrative acetic or as a collateral day of contemporary society. En ‘¡Conoce al presidente!’ a virtual reality game can serve to enter the Despacho Oval or to assist in your first funeral, which is the same. ‘Kelso Deconstructed’ imagines the last days of the life of Kelso Cochrane, the victim of a xenophobic assessment in Notting Hill in 1959. Public scrutiny at the university and the delusion in social speeches occupy the epicenter of ‘Nowhere’. In the delicate ‘Sentimental Education’, feminism and racism delicately embrace the collection of the jubilee loves of a mother of a family. Smith reads his fragments of life in fragments of reality as a result of which he is a programmer, since the message is in the entirety of his bourgeois prose.

Literary identity incomprehensible

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Luego states the relations of writers and artists in that, as in ‘Bloqueo’, Zadie Smith appears to atomize his reflection, for he never ceases to be his wife because, on the contrary, we understand that his literary identity is incomprehensible. The most convenient of all is, quizzes, the most autobiographical. ‘Por el rey’ is the story of a first person, between a writer and an artist friend, resident in Paris. Smith transmits with a great deal the intimacy of a conversation between colleagues that pasan discusses about his life, and hablan of that which means to consider, of sexual placement as borrador of the time, of the fantasies of this. And the acaba acaba with a epiphany, in the mode of Carver or Chéjov, a relationship within the relationship that reivindica a mantra -el on the rey ‘of the title, pronounced repeatedly by a man with Tourette’s syndrome- “as a human expression which todavía preserves an atisbo of meaning by minuscule that fuera “. And here is Smith, a great photographer of this human race who persists.