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From the Man Booker Prize Finalist comes the third novel in her Seasonal Quartet—a New York Times Notable Book andlonglisted for the Orwell Prize for Political Fiction 2020 What unites Katherine Mansfield, Charlie Chaplin, Shakespeare, Rilke, Beethoven, Brexit, the present, the past, the north, the south, the east, the west, a man mourning lost times, a woman trapped in modern times? Spring. The great connective. With an eye to the migrancy of story over time and riffing on Pericles, one of Shakespeare's most resistant and rollicking works, Ali Smith tell the impossible tale of an impossible time. In a time of walls and lockdown, Smith opens the door. The time we're living in is changing nature. Will it change the nature of story? Hope springs eternal.
From the Man Booker Prize Finalist comes the third novel in her Seasonal Quartet—a New York Times Notable Book andlonglisted for the Orwell Prize for Political Fiction 2020 What unites Katherine Mansfield, Charlie Chaplin, Shakespeare, Rilke, Beethoven, Brexit, the present, the past, the north, the south, the east, the west, a man mourning lost times, a woman trapped in modern times? Spring. The great connective. With an eye to the migrancy of story over time and riffing on Pericles, one of Shakespeare's most resistant and rollicking works, Ali Smith tell the impossible tale of an impossible time. In a time of walls and lockdown, Smith opens the door. The time we're living in is changing nature. Will it change the nature of story? Hope springs eternal.
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Extraits-
From the bookNow what we don’t want is Facts. What we want is bewilderment. What we want is repetition. What we want is repetition. What we want is people in power saying the truth is not the truth. What we want is elected members of parliament saying knife getting heated stuck in her front and twisted things like bring your own noose we want governing members of parliament in the house of commons shouting kill yourself at opposition members of parliament we want powerful people saying they want other powerful people chopped up in bags in my freezer we want muslim women a joke in a newspaper column we want the laugh we want the sound of that laugh behind them everywhere they go. We want the people we call foreign to feel foreign we need to make it clear they can’t have rights unless we say so. What we want is outrage offence distraction. What we need is to say thinking is elite knowledge is elite what we need is people feeling left behind disenfranchised what we need is people feeling. What we need is panic we want subconscious panic we want conscious panic too. We need emotion we want righteousness we want anger. We need all that patriotic stuff. What we want is same old Scandal Of The Alcoholic Mothers Danger Of The Daily Aspirin but with more emergency Nein Nein Nein we need a hashtag #linedrawn we want Give Us What We Want Or We’ll Walk we want fury we want outrage we want words at their most emotive antisemite is good nazi is great paedo will really do it perverted foreigner illegal we want gut reaction we want Age Test For ‘Child Migrants’ 98% Demand Ban New Migrants Gunships To Stop Migrants How Many More Can We Take Bolt Your Doors Hide Your Wives we want zero tolerance. We need news to be phone size. We need to bypass mainstream media. We need to look past the interviewer talk straight to camera. We need to send a very clear strong unmistakable message. We need newsfeed shock. We need more newsfeed shock come on quick next newsfeed shock pull the finger out we want torture images. We need to get to them we need them to think we can get to them get the word lynching to anyone not white. We want rape threats death threats 24/7 to black / female members of parliament no just women doing anything public anyone doing anything public we don’t like we need How Dare She / How Dare He / How Dare They. We need to suggest the enemy within. We need enemies of the people we want their judges called enemies of the people we want their journalists called enemies of the people we want the people we decide to call enemies of the people called enemies of the people we want to say loudly over and over again on as many tv and radio shows as possible how they’re silencing us. We need to say all the old stuff like it’s new. We need news to be what we say it is. We need words to mean what we say they mean. We need to deny what we’re saying while we’re saying it. We need it not to matter what words mean. We need a good old slogan Britain no England / America / Italy / France / Germany / Hungary / Poland / Brazil / [insert name of country] First. We need the dark web money algorithms social media. We need to say we’re doing it for freedom of speech. We need bots we need cliche we need to offer hope. We need to say it’s a new era the old era’s dead their time’s over it’s our time now. We need to smile a lot while we say it we...
Au sujet de l’auteur-
ALI SMITH is the author of many works of fiction, including, most recently, Winter, Autumn, Public library and other stories, and How to be both, which won the Baileys Prize for Women's Fiction, the Goldsmiths Prize, and the Costa Novel of the Year Award. Her work has four times been short-listed for the Man Booker Prize. Born in Inverness, Scotland, she lives in Cambridge, England.
Critiques-
April 15, 2019 The third installment of Smith's Seasonal Quartet (Autumn, 2017; Winter, 2018) touches on previous themes of creativity and friendship and delves deeper into current events with a sharp-edged look at the treatment of immigrants. In the spring of 2018, a TV director named Richard discusses a new film with a woman named Paddy, a brilliant, ailing scriptwriter with whom he started working in the 1970s. The project and their decadeslong relationship will punctuate the book's time-bending narrative, a large swath of which concerns a few days in the following October. Paddy has died, and Richard takes a train to Kingussie, Scotland, and considers suicide. Around the same time, Brittany, a guard at one of England's immigrant-detention centers, meets the quasi-magical 12-year-old Florence and agrees to entrain for Scotland as well. Joining the sparse cast in Kingussie (pronounced Kin-you-see, in a devilish pun) is Alda, the driver of a coffee van with no coffee. All is revealed in the spring of 2019. As in the first two books, Smith alludes to contemporary issues, such as #MeToo, Brexit, and fake news, but on immigrants she grabs a megaphone. The book's opening chapter is a verbal collage of rant and headline. Smith uses Brittany to spotlight grim details behind the cynicism and cruelty of Britain's immigrant-detention policy, while Alda and Florence suggest the roots of a solution. Roots, shoots, and buds abound amid myriad references to death and rebirth, from the Hanged Man pub to Orpheus, Norse mythology's Ragnarok, and Shelley's "The Cloud." The three novels have a few common elements--the pain and pleasure of creativity; the pairing of an older adult and an intelligent youth; the showcasing of an English female visual artist, here Tacita Dean--but they are self-contained and increasingly urgent in their hope that art might bring change. As Alda says, "Those stories are deeply serious, all about transformation." Smith's work is always challenging and always rewarding.
COPYRIGHT(2019) Kirkus Reviews, ALL RIGHTS RESERVED.
June 10, 2019 Like its two predecessors in Smithâs acclaimed Seasonal Quartet (Autumn and Winter), this dynamic novel captures the many turmoils of life in the contemporary U.K. through ecstatic language and indirect narrative collisions. The first third, set mostly on a Scottish train platform, concerns Richard Lease, an over-the-hill TV and film director mourning his recently deceased collaborator, Paddy. Rife with nuanced reflections on the nature of art and mourning, Richardâs ruminative section is the bookâs most immediate and engaging. After Richard lowers himself into the path of an oncoming train, readers meet his would-be rescuer, Brit, a security guard at a migrant detention facility. Brit has been lured into an impromptu journey by Florence, a pseudo-messianic young girl seemingly capable of inspiring empathy in even the darkest of hearts. The three mismatched characters are soon traveling together, on their way to an old battlefield where the violences of yesteryear and the present day will converge. As was the case with Autumn and Winter, the novelâs setting is its foremost strength and increasingly enervating flaw, leading to writing that alternately astounds and exasperates. About three-quarters of the way through the third quarter of this series, the bookâs most memorable character, Richard, provides a relevant description of the whole enterprise, a response for every season: âGimmicky, but impressive all the same.â Agent: Andrew Wylie, the Wylie Agency.
October 1, 2018
Celebrated Scottish author Smith's "Seasonal Quartet" of linked but stand-alone novels exploring contemporary issues both personal and social began with the Man Booker short-listed, multi-best-booked Autumn, already in its ninth printing in trade paperback here. It continued with Winter, published here in 2018 and multi-best-booked in the UK, where it was published in 2017. What will spring bring? More of the best, though plot details aren't out yet.
Copyright 2018 Library Journal, LLC Used with permission.
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