Zadie Smith's latest collection of essays, 'Dead and Alive', offers a profound meditation on the anxieties of our times. These 16-year-old musings seem like yesterday's news, as if they've been buried in time, only to resurface now that we're older, wiser – or perhaps just more anxious.
In some notes on mediated time, Smith recounts how her childhood, marked by a dreamy, slow world, gave way to the anxiety-ridden present of social media. This generational shift has left many feeling like outsiders, and for those who've lived through it, the age-old anxieties of aging have been superimposed upon these feelings.
The stakes are high in Smith's essays, as she tackles topics such as language, representation, cultural commentary, and politics. Her criticism of the reductive pieties that grease the wheels of cultural commentary rings true, but there are moments where her own words feel like a plea for understanding – an awkward "as the youngs say" here, a misplaced slang phrase there.
However, it's when Smith opens up on the complexities of human relationships and the politics of creativity that she shines. Her observations on Kara Walker's work, James Baldwin's craft, and the ethics of cultural appropriation are nuanced, thought-provoking, and essential reading for anyone interested in these topics.
But not everything is clear-cut. When it comes to actual politics, Smith seems uncertain, wavering between pragmatism and idealism. Her op-ed on the war in Gaza, originally published in May 2024, was widely seen as equivocal, conflating anti-war protesters with antisemites – a misstep that has since been acknowledged.
It's against this backdrop of catastrophic stagnation in centre-left politics and the crisis in media that Smith's 'Dead and Alive' takes on a new significance. Her nostalgic evocations of analogue-era television are poignant reminders of what we've lost, but they also feel like an article of faith – the genie is out of the bottle.
Ultimately, this collection is less a call to action than a lament for what's been lost. As Smith writes, "I would rather the kids knew stories than soundbites." But in today's world, it's not just about what we want our children to know; it's also about what they'll be forced to learn from us – and whether those lessons will be enough to save them from themselves.
In some notes on mediated time, Smith recounts how her childhood, marked by a dreamy, slow world, gave way to the anxiety-ridden present of social media. This generational shift has left many feeling like outsiders, and for those who've lived through it, the age-old anxieties of aging have been superimposed upon these feelings.
The stakes are high in Smith's essays, as she tackles topics such as language, representation, cultural commentary, and politics. Her criticism of the reductive pieties that grease the wheels of cultural commentary rings true, but there are moments where her own words feel like a plea for understanding – an awkward "as the youngs say" here, a misplaced slang phrase there.
However, it's when Smith opens up on the complexities of human relationships and the politics of creativity that she shines. Her observations on Kara Walker's work, James Baldwin's craft, and the ethics of cultural appropriation are nuanced, thought-provoking, and essential reading for anyone interested in these topics.
But not everything is clear-cut. When it comes to actual politics, Smith seems uncertain, wavering between pragmatism and idealism. Her op-ed on the war in Gaza, originally published in May 2024, was widely seen as equivocal, conflating anti-war protesters with antisemites – a misstep that has since been acknowledged.
It's against this backdrop of catastrophic stagnation in centre-left politics and the crisis in media that Smith's 'Dead and Alive' takes on a new significance. Her nostalgic evocations of analogue-era television are poignant reminders of what we've lost, but they also feel like an article of faith – the genie is out of the bottle.
Ultimately, this collection is less a call to action than a lament for what's been lost. As Smith writes, "I would rather the kids knew stories than soundbites." But in today's world, it's not just about what we want our children to know; it's also about what they'll be forced to learn from us – and whether those lessons will be enough to save them from themselves.
I love how she's tackling all these big issues like language, representation, and politics, but for me it feels a bit muddled at times 
. Like, I get that she's trying to be nuanced and thoughtful, but some of her writing still feels kinda awkward or try-hard 
. And omg her essay on the war in Gaza was SO problematic 
. But despite all that, I still think 'Dead and Alive' is a really important read, especially with all the craziness going on in politics and media right now 
. Smith's observations on human relationships and creativity are so insightful and thought-provoking – she totally nails it when she talks about Kara Walker's work 
. And her nostalgic vibes for old TV are giving me ALL the feels 
. Can't wait to dive into this more! 
. I'm loving how she's tackling the big issues, but at the same time, I can feel her uncertainty about how to make her point. It's relatable, you know? We're all trying to figure out this crazy world and our place in it.
. Overall though, 'Dead and Alive' is a vital read for anyone who wants to be part of the conversation about what's going on in our world right now 
.
i mean, i was 16 when this book came out and yeah, it felt like yesterday's news lol but the thing is, zadie smith's concerns about social media & language are STILL relevant today 
and those observations on kara walker's work & james baldwin's craft are SO important. we need more nuanced conversations like that in our lives.
it's not like she didn't try to be thoughtful about it, but it just ended up being super equivocal & that really hurt some ppl. 
one that can reflect on our anxieties without giving us easy answers or solutions. we're stuck in this limbo where we wanna be idealists, but also don't wanna be naive 
And can we talk about Kara Walker and James Baldwin for a sec? 
Her insights on those topics are seriously mind-blowing 
, you know? It feels like she's stuck between being pragmatic and idealistic. 
... and I'm all over that 
. We need more nuanced thinking like that in today's world! 
).
When did we start living in a world where "as the youngs say" is a thing? 
Can't relate to being uncertain about politics. I'm just trying to adult over here... 
it's also because our societal anxieties have basically remained the same, even as the medium through which we experience them has changed.