Zadie Smith Kills Charles Dickens

 I find Zadie Smith adorable - intelligent, with a style that is accessible without coming close to boorish. She is publishing a historical novel - her first - and explains why she did so in an essay for The New Yorker., On Killing Charles Dickens.

I think this short excerpt get sot what I like about her style.

....Throughout all this equivocation, I kept clinging to the one piece of data about which I felt certain: any writer who lives in England for any length of time will sooner or later find herself writing a historical novel, whether she wants to or not. Why is that? Sometimes I think it’s because our nostalgia loop is so small—so tight. There are, for example, people in England right now who can bring themselves to Proustian tears at the memory of the Spice Girls or MiniDiscs or phone boxes—it doesn’t take much—and this must all have an effect on our literary culture. The French tend to take the term nouveau roman literally. Meanwhile, the English seem to me constitutionally mesmerized by the past. Even “Middlemarch” is a historical novel! And though plenty English myself, I retained a prejudice against the form, dating back to student days, when we were inclined to think of historical novels as aesthetically and politically conservative by definition.

If you pick up a novel and find that it could have been written at any time in the past hundred years, well, then, that novel is not quite doing its self-described job, is it? Surely, it’s in the very DNA of the novel to be new? So I have always thought. But, over time, the specious logic of these student arguments has come under some pressure, specifically after I read several striking examples of the genre. “Memoirs of Hadrian,” by Marguerite Yourcenar, is not written in Latin, and “Measuring the World,” by my friend Daniel Kehlmann, is not in old German. Even the language of “Wolf Hall” has very little to do with real Tudor syntax: it is Mantellian through and through. All three bring news. Not all historical fiction cosplays its era, and an exploration of the past need not be a slavish imitation of it. You can come at the past from an interrogative angle, or a sly remove, and some historical fiction will radically transform your perspective not just on the past but on the present. These ideas are of course obvious to long-term fans of historical fiction, but they were new to me. I laid down my ideological objection....

I have two favorite writers of historical fiction: Kenneth Roberts and Gore Vidal. Both shared one quality, they celebrated the characters that got short shrift in mainstream histories, the people that put the warts on our national mythology - Benedict Arnold and Aaron Burr. True, they are not stylists like Mantel, but cosplay is not what I think of with their novels. I suspect Ms. Smith's novel will not, either.

And about the problem of Charles Dickens:

Hanging over all this anxiety was the long shadow of Dickens. To be my age, bookish, and born in England was to grow up under that tiresomely gigantic influence. Dickens was everywhere. He was in school and on the shelves at home and in the library. He invented Christmas. He was in politics, influencing changes in labor law, educational law, even copyright law. He was the original working-class hero—radiant symbol of our supposed meritocracy—as well as a crown jewel of the English Heritage tourist industry. (In other words, he was posthumously manipulated by many different sections of British society to score a variety of political points.) He was also everywhere I wanted to be: in the theatre, in Italy, in America. Televised versions of his books were on rotation—there is a case to be made that Dickens is the reason that we have prestige-TV miniseries in the first place—and he was in the goddam Muppets and all over Hollywood, in conscious adaptation and unconscious theft. I personally read far too much of him as a child, and though I grew up to have all the usual doubts and caveats about him—too sentimental, too theatrical, too moralistic, too controlling—I was also never able to quite get out from under his embarrassing influence, as much as I’ve often wanted to. So it went with my surreptitious research. No matter where I found myself in nineteenth-century London, I’d run into Dickens. In the main chapters, in the index, in parentheses or out of them—all roads led back to Charles. There didn’t seem to be a nineteenth-century pot he didn’t have his finger in.

sch 7/7