Zadie Smith

It's like that quote: 'If I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country.' The choice between a duty or a principle, you know?

This has been the century of strangers, brown, yellow and white. This has been the century of the great immigrant experiment. It is only this late in the day that you can walk into a playground and find Isaac Leung by the fish pond, Danny Rahman in the football cage, Quang O__ourke bouncing a basketball, and Irie Jones humming a tune. Children with first and last names on a direct collision course. Names that secrete within them mass exodus, cramped boats and planes, cold arrivals, medical checks. It is only this late in the day, and possibly only in Willesden, that you can find best friends Sita and Sharon, constantly mistaken for each other because Sita is white (her mother liked the name) and Sharon is Pakistani (her mother thought it best _ less trouble).

And I'm not going to get any thinner or any younger, my ass is going to hit the ground, if it hasn't already--and I want to be with somebody who can still see me in here. I'm still in here. And I don't want to be resented or despised for changing...I'd rather be alone.

You never know, until it happens, what you will owe the dead.

But these people _announced_ their madness . . . they flaunted their insanity, they weren't half mad and half not, curled around a door frame. They were properly mad in the Shakespearean sense, talking sense when you least expected it.

I couldn't imagine her leaving this world without ripping its fabric.

Then you begin to give up the very idea of belonging. Suddenly this thing, this belonging,it seems like some long, dirty lie ... and I begin to believe that birthplaces are accidents, that everything is an accident. But if you believe that, where do you go? What do you do? What does anything matter?

Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra__hey__l take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigour when I__ too sentimental, to bring verbal ease when I__ syntactically uptight. I think of reading like a balanced diet; if your sentences are baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If your aesthetic has become so refined it is stopping you from placing a single black mark on white paper, stop worrying so much about what Nabokov would say; pick up Dostoyevsky, patron saint of substance over style.

In the middle of a novel, a kind of magical thinking takes over. To clarify, the middle of the novel may not happen in the actual geographical centre of the novel. By middle of the novel I mean whatever page you are on when you stop being part of your household and your family and your partner and children and food shopping and dog feeding and reading the post__ mean when there is nothing in the world except your book, and even as your wife tells you she__ sleeping with your brother her face is a gigantic semi-colon, her arms are parentheses and you are wondering whether rummage is a better verb than rifle. The middle of a novel is a state of mind. Strange things happen in it. Time collapses.

Keisha Blake, whose celebrated will and focus did not leave her much room for angst, watched her friend ascend to the top deck in her new panda-eyed makeup and had a mauvais quart d'heure, wondering whether she herself had any personality at all or was in truth only the accumulation and reflection of all the things she had read in books and seen on television.

You don__ come to live here unless the delusion of a reality shaped around your own desires isn__ a strong aspect of your personality. 'A reality shaped around your own desires' _ there is something sociopathic in that ambition.

You don__ come to live here [New York City] unless the delusion of a reality shaped around your own desires isn__ a strong aspect of your personality. 'A reality shaped around your own desires' _ there is something sociopathic in that ambition.

Cause nobody's the slightest idea who we are, or who we were, not even we ourselves - except, that is, in the glimmer of a moment of fair business between strangers, or the nod of knowing and agreement between friends. Other than these, we go out anonymous into the insect air and all we are is the dust of colour, brief engineering of wings towards a glint of light on a blade of grass or a leaf in a summer dark.Azide Smith, How to be Both

Samad! My mouth is like the grave! Whatever is told to me dies with me."Whatever was told to Zinat invariably lit up the telephone network, rebounded off aerials, radio waves, and satellites along the way, picked up finally by advanced alien civilizations as it bounced through the atmosphere of planets far removed from this one.

Now, how do the young prepare to meet the old? The same way the old prepare to meet the young: with a little condescension; with low expectation of the other__ rationality; with the knowledge that the other will find what they say hard to understand, that it will go beyond them (not so much over the head as between the legs); and with the feeling that they must arrive with something the other will like, something suitable.

It starts innocently. Casually. You turn up at the annual spring fair full of beans, help with the raffle tickets (because the pretty red-haired music teacher asks you to) and win a bottle of whiskey (all school raffles are fixed), and, before you know where you are, you're turning up at the weekly school council meetings, organizing concerts, discussing plans for a new music department, donating funds for the rejuvenation of the water fountains__ou're implicated in the school, you're involved in it. Sooner or later you stop dropping your children at the school gates. You start following them in.

The wind picked up, shaking the trees below. She had the sense of being in the country. In the country, if a woman could not face her children, or her friends, or her family _ if she were covered in shame _ she would probably only need to lay herself down in a field and take her leave by merging, first with the grass underneath her, then with the mulch under that. A city child, Natalie Blake had always been naive about country matters. Still, when it came to the city, she was not mistaken. Here nothing less than a break _ a sudden and total rupture _ would do.

Those are my bougainvillea__ got Victoria to plant them today, but I don;t know if they will survive. But Right now they have the appearance of survival, which is almost the same thing.