NW: A Novel - Couverture rigide

Smith, Zadie

Couverture rigide

ISBN 10 : 1594203970 ISBN 13 : 9781594203978

Editeur : Penguin Press, 2012

Synopsis

Rare Book

A propos du livre

Extrait :

1

The fat sun stalls by the phone masts. Anti-climb paint turns sulphurous on school gates and lampposts. In Willesden people go barefoot, the streets turn European, there is a mania for eating outside. She keeps to the shade. Redheaded. On the radio: I am the sole author of the dictionary that defines me. A good line—write it out on the back of a magazine. In a hammock, in the garden of a basement flat. Fenced in, on all sides.

Four gardens along, in the estate, a grim girl on the third floor screams Anglo-Saxon at nobody. Juliet balcony, projecting for miles. It ain’t like that. Nah it ain’t like that. Don’t you start. Fag in hand. Fleshy, lobster-red.

I am the sole

I am the sole author

Pencil leaves no mark on magazine pages. Somewhere she has read that the gloss gives you cancer. Everyone knows it shouldn’t be this hot. Shriveled blossom and bitter little apples. Birds singing the wrong tunes in the wrong trees too early in the year. Don’t you bloody start! Look up: the girl’s burned paunch rests on the railing. Here’s what Michel likes to say: not everyone can be invited to the party. Not this century. Cruel opinion—she doesn’t share it. In marriage not everything is shared. Yellow sun high in the sky. Blue cross on a white stick, clear, definitive. What to do? Michel is at work. He is still at work.

I am the

the sole

Ash drifts into the garden below, then comes the butt, then the box. Louder than the birds and the trains and the traffic. Sole sign of sanity: a tiny device tucked in her ear. I told im stop takin liberties. Where’s my cheque? And she’s in my face chattin breeze. Fuckin liberty.

I am the sole. The sole. The sole

She unfurls her fist, lets the pencil roll. Takes her liberty. Nothing else to listen to but this bloody girl. At least with eyes closed there is something else to see. Viscous black specks. Darting water boatmen, zig-zagging. Zig. Zag. Red river? Molten lake in hell? The hammock tips. The papers flop to the ground. World events and property and film and music lie in the grass. Also sport and the short descriptions of the dead.

2

Doorbell! She stumbles through the grass barefoot, sun-huddled, drowsy. The back door leads to a poky kitchen, tiled brightly in the taste of a previous tenant. The bell is not being rung. It is being held down.

In the textured glass, a body, blurred. Wrong collection of pixels to be Michel. Between her body and the door, the hallway floorboards, golden in reflected sun. This hallway can only lead to good things. Yet a woman is screaming PLEASE and crying. A woman thumps the front door with her fist. Pulling the lock aside, she finds it stops halfway, the chain pulls tight, and a little hand f lies through the gap.

– PLEASE—oh my God help me—please Miss, I live here—I live just here, please God—check, please—

Dirty nails. Waving a gas bill? Phone bill? Pushed through the opening, past the chain, so close she must draw back to focus on what she is being shown. 37 Ridley Avenue—a street on the corner of her own. This is all she reads. She has a quick vision of Michel as he would be if he were here, examining the envelope’s plastic window, checking on credentials. Michel is at work. She releases the chain.

The stranger’s knees go, she falls forward, crumpling. Girl or woman? They’re the same age: thirties, mid-way, or thereabouts. Tears shake the stranger’s little body. She pulls at her clothes and wails. Woman begging the public for witnesses. Woman in a warzone standing in the rubble of her home.

– You’re hurt?

Her hands are in her hair. Her head collides with the doorframe.

– Nah, not me, my mum—I need some help. I’ve been to every fuckin door—please. Shar—my name is Shar. I’m local. I live here. Check!

– Come in. Please. I’m Leah.

Leah is as faithful in her allegiance to this two-mile square of the city as other people are to their families, or their countries. She knows the way people speak around here, that fuckin, around here, is only a rhythm in a sentence. She arranges her face to signify compassion. Shar closes her eyes, nods. She makes quick movements with her mouth, inaudible, speaking to herself. To Leah she says

– You’re so good.

Shar’s diaphragm rises and falls, slower now. The shuddering tears wind down.

– Thank you, yeah? You’re so good.

Shar’s small hands grip the hands that support her. Shar is tiny. Her skin looks papery and dry, with patches of psoriasis on the forehead and on the jaw. The face is familiar. Leah has seen this face many times in these streets. A peculiarity of London villages: faces without names. The eyes are memorable, around the deep brown clear white is visible, above and below. An air of avidity, of consuming what she sees. Long lashes. Babies look like this. Leah smiles. The smile offered back is blank, without recognition. Sweetly crooked. Leah is only the good stranger who opened the door and did not close it again. Shar repeats: you are so good, you are so good— until the thread of pleasure that runs through that phrase (of course for Leah there is a little pleasure) is broken. Leah shakes her head. No, no, no, no.

Leah directs Shar to the kitchen. Big hands on the girl’s narrow shoulders. She watches Shar’s buttocks rise up and against her rolled-down jogging pants, the little downy dip in her back, pronounced, sweaty in the heat. The tiny waist opening out into curves. Leah is hipless, gangly like a boy. Perhaps Shar needs money. Her clothes are not clean. In the back of her right knee there is a wide tear in the nasty fabric. Dirty heels rise up out of disintegrating flip-f lops. She smells.

– Heart attack! I was asking them is she dyin? Is she dyin? Is she dyin? She goes in the ambulance—don’t get no answer do I! I got three kids that is home alone innit—I have to get hospital—what they talking about car for? I ain’t got no car! I’m saying help me—no one did a fuckin thing to help me.

Leah grips Shar’s wrist, sets her down in a chair at the kitchen table and passes over a roll of tissue. She puts her hands once more on Shar’s shoulders. Their foreheads are inches from each other.

– I understand, it’s OK. Which hospital?

– It’s like . . . I ain’t written it . . . In Middlesex or—Far, though. Don’t know eggzak’ly.

Leah squeezes Shar’s hands.

– Look, I don’t drive—but—

Checks her watch. Ten to five.

– If you wait, maybe twenty minutes? If I call him now, he can—or maybe a taxi . . .

Shar eases her hands from Leah’s. She presses her knuckles into her eyes, breathing out fully: the panic is over.

– Need to be there . . . no numbers—nothing—no money . . .

Shar tears some skin from her right thumb with her teeth. A spot of blood rises and contains itself. Leah takes Shar again by the wrist. Draws her fingers from her mouth.

– Maybe The Middlesex? Name of the hospital, not the place. Down Acton way, isn’t it?

The girl’s face is dreamy, slow. Touched, the Irish say. Possible that she’s touched.

– Yeah . . . could be . . . yeah, no, yeah that’s it. The Middlesex. That’s it.

Leah straightens up, takes a phone from her back pocket and dials.

– I’LL COME BY TOMORROW.

Leah nods and Shar continues, making no concession for the phone call.

– PAY YOU BACK. GET MY CHEQUE TOMORROW, YEAH?

Leah keeps her phone to her ear, smiles and nods, gives her address. She mimes a cup of tea. But Shar is looking at the apple blossom. She wipes tears from her face with the fabric of her grubby t-shirt. Her belly-button is a tight knot f lush with her stomach, a button sewn in a divan. Leah recites her own phone number.

– Done.

She turns to the sideboard, picks up the kettle with her free hand, fumbling it because she expected it to be empty. A little water spills. She replaces the kettle on its stand, and remains where she is, her back to her guest. There is no natural place to sit or stand. In front of her, on the long windowsill that stretches the room, some of the things of her life—photos, knick-knacks, some of Dad’s ashes, vases, plants, herbs. In the window’s reflection Shar is bringing her little feet up to the seat of her chair, holding her ankles. The emergency was less awkward, more natural than this. This is not the country for making a stranger tea. They smile at each other in the glass. There is goodwill. There is nothing to say.

– I’ll get cups.

Leah is naming all her actions. She opens the cupboard. It is full of cups; cups on cups on cups.

– Nice place.

Leah turns too quickly, makes irrelevant motions with her hands.

– Not ours—we rent—ours is just this—there’s two flats upstairs. Shared garden. It’s council, so . . .

Leah pours out the tea as Shar looks around. Bottom lip out, head nodding gently. Appreciative, like an estate agent. Now she comes to Leah. What’s to see? Wrinkled checked flannel shirt, raggedy jean shorts, freckled legs, bare feet—someone absurd, maybe, a slacker, a lady of leisure. Leah crosses her arms across her abdomen.

– Nice for council. Lot of bedrooms and that?

The lip stays low. It slurs her speech a little. Something is wrong with Shar’s face, Leah notices, and is embarrassed by noticing, and looks away.

– Two. The second’s a box. We sort of use it as . . .

Shar meanwhile burrows for something else entirely; she’s slower than Leah, but she’s there now, they’re in the same place. She points her finger in Leah’s face.

– Wait—you went Brayton?

She bounces on her chair. Elated. But this must be wrong.

– I swear when you was on the phone I was thinking: I know you. You went Brayton!

Leah perches her backside on the counter and gives her dates. Shar is impatient with chronology. She wants to know if Leah remembers when the science wing flooded, the time Jake Fowler had his head placed in a vise. In relation to these coordinates, like moon landings and the deaths of presidents, they position their own times.

– Two years below you, innit. What’s your name again?

Leah struggles with the stiff lid of a biscuit tin.

– Leah. Hanwell.

– Leah. You went Brayton. Still see anyone?

Leah lists her names, with their potted biographies. Shar beats a rhythm on the table-top with her fingers.

– Have you been married long?

– Too long.

– Do you want me to call someone? Your husband?

– Nah . . . nah . . . he’s over there. Ain’t seen him in two years. Abusive. Violent. Had issues. Had a lot of problems, in his head and that. Broke my arm, broke my collarbone, broke my knee, broke my fuckin face. Tell you the truth—

The next is said in a light aside, with a little hiccupping laugh, and is incomprehensible.

– Used to rape me and everything . . . it was crazy. Oh well.

Shar slides off her chair and walks toward the back door. Looks out on the garden, the parched yellow lawn.

– I’m so sorry.

– Ain’t your fault! Is what it is.

The feeling of feeling absurd. Leah puts her hands in her pockets. The kettle clicks.

– Truthfully, Layer, I’d be lying if I said it’s been easy. It’s been hard. But. Got away, you know? I’m alive. Three kids! Youngest is seven. So, good came, you get me?

Leah nods at the kettle.

– Got kids?

– No. A dog, Olive. She’s at my mate Nat’s house right now. Natalie Blake? Actually in school she was Keisha. Natalie De Angelis now. In my year. Used to have a big afro puff like—

Leah mimes an atomic mushroom behind her own head. Shar frowns.

– Yeah. Up herself. Coconut. Thought she was all that.

A look of blank contempt passes over Shar’s face. Leah talks into it.

– She’s got kids. Lives just over there, in the posh bit, on the park. She’s a lawyer now. Barrister. What’s the difference? Maybe there isn’t one. They’ve two kids. The kids love Olive, the dog’s called Olive.

She is just saying sentences, one after the other, they don’t stop.

– I’m pregnant, actually.

Shar leans against the glass of the door. Closes one eye, focusing on Leah’s stomach.

– Oh it’s early. Very. Actually I found out this morning.

Actually actually actually. Shar takes the revelation in her stride.

– Boy?

– No, I mean—I haven’t got that far.

Leah blushes not having intended to speak of this delicate, unfinished thing.

– Does your mans know?

– I took the test this morning. Then you came.

– Pray for a girl. Boys are hell.

Shar has a dark look. She grins satanically. Around each tooth the gum is black. She walks back to Leah and presses her hands flat against Leah’s stomach.

– Let me feel. I can tell things. Don’t matter how early. Come here. Not gonna hurt you. It’s like a gift. My mum was the same way. Come here.

She reaches for Leah and pulls her forward. Leah lets her. Shar places her hands back where they were.

– Gonna be a girl, definite. Scorpio, too, proper trouble. A runner.

Leah laughs. She feels a heat rising between the girl’s sweaty hands and her own clammy stomach.

– Like an athlete?

– Nah . . . the kind who runs away. You’ll need one eye on her, all the time.

Shar’s hands drop, her face glazes over once more with boredom. She starts talking of things. All things are equal. Leah or tea or rape or bedroom or heart attack or school or who had a baby.

– That school. . . . it was rubbish but them people who went there. . . . quite a few people did all right, didn’t they? Like, Calvin—remember Calvin?

Leah pours out the tea, nodding fiercely. She does not remember Calvin.

– He’s got a gym on the Finchley Road.

Leah spins her spoon in her tea, a drink she never takes, especially in this weather. She has pressed the bag too hard. The leaves break their borders and swarm.

– Not running it—owns it. I go past there sometimes. Never thought little Calvin would get his shit together—he was always with Jermaine and Louie and Michael. Them lot was trouble . . . I don’t see none of them. Don’t need the drama. Still see Nathan Bogle. Used to see Tommy and James Haven but I aint seen them recent. Not for time.

Shar keeps talking. The kitchen slants and Leah steadies herself with a hand to the sideboard.

– Sorry, what?

Shar frowns, she speaks round the lit fag in her mouth.

– I said, can I have that tea?

Together they look like old friends on a winter’s night, holding their mugs with both hands. The door is open, every window is open. No air moves. Leah takes her shirt in hand and shakes it free of her skin. A vent opens, air scoots through. The sweat pooled beneath each breast leaves its shameful trace on the cotton.

– I used to know . . . I mean . . .

Leah presses on with this phony hesitation and looks deep into her mug, but Shar isn’t interested, she’s knocking on the glass of the door, speaking over her.

– Yeah you looked different in school, definitely. You’re better now innit. You was all ginger and bony. All long.

Leah is still all of these things. The change must be in other people, or in the times themselves.

– Done well, though. How come you aint at work? What d’you do again?

Shar is a...

Revue de presse :

A 2012 National Book Critics Circle Award Finalist

One of The New York Times Book Review's 10 Best Books of 2012

One of TIME's Top 10 Fiction Books of 2012

One of The Wall Street Journal's Best 10 Fiction Books of 2012

A New York Times and Washington Post Notable Book of 2012

"This is a book in which you never know how things will come together or what will happen next... NW represents a deliberate undoing; an unpacking of Smith’s abundant narrative gifts to find a deeper truth, audacious and painful as that truth may be. The result is that rare thing, a book that is radical and passionate and real."
—Anne Enright, The New York Times Book Review

"A boldly Joycean appropriation, fortunately not so difficult of entry as its great model... Like Zadie Smith’s much-acclaimed predecessor White Teeth (2000), NW is an urban epic."
—Joyce Carol Oates, The New York Review of Books

"Endlessly fascinating... remarkable. ...The impression of Smith's casual brilliance is what constantly surprises, the way she tosses off insights about parenting and work that you've felt in some nebulous way but never been able to articulate."
—Ron Charles, The Washington Post

"Innovative and moving... This is a rich novel, as crammed with voices and layered with history and pop culture as is London itself. Smith’s flair for dialogue reaches a new height in NW, as she conveys the rhythms and diction of a variety of Londoners with wit and acuity. The story of what happens inside a person when she rises above the situation she was born into was of interest to Charles Dickens and Jane Austen, among countless other novelists. Zadie Smith has delivered her contribution to this literary tradition with aplomb."
—Dallas Morning News

"Smith has never been a writer who travels directly from A to B... Smith is not interested in exploring the unbroken line of cause and effect. What NW does offer, in abundance, is the sense of being plunged with great immediacy into the lives of these characters and their neighborhood. How wonderful to have a new version of London to explore."
—Boston Globe

"If our everyday world suddenly turns dark, zany and lyrically weird one day, it's probably because Zadie Smith has learned how to control us all. In NW, Ms. Smith takes her courageous forays into the vernacular to new heights, using perspectives that are perhaps more native to her but in a form that feels brand new."
—Pittsburgh Post-Gazette

"Zadie Smith is not merely one of Britain's finest younger writers, but also one of the English-speaking world's best chroniclers of race, class, and identity in urban confines. Smith remains fearless, and there are moments that astonish. Her ambition and talent continue to awe."
—Philadelphia Inquirer

"[NW is] a real sign of how Smith has developed and grown. It is a terrific novel: deeply ambitious, an attempt to use literature as a kind of excavation, while at the same time remaining intensely readable, intensely human, a portrait of the way we live."
—Los Angeles Times

"A marvelously accomplished work, perhaps her most polished yet."
—Laura Miller, Salon

"A triumph... As Smith threads together her characters' inner and outer worlds, every sentence sings."
—The Guardian

"Smith's fiction has never been this deadly, direct, or economical... Where gifts are concerned, Smith is generous with hers; she writes, one feels, with our pleasure in mind... NW is Zadie Smith’s riskiest, meanest, most political and deeply felt book--but it all feels so effortless. She dazzles."
—Parul Sehgal, Bookforum

"NW offers a nuanced, disturbing exploration of the boundaries, some porous, some impenetrable, between people living cheek by jowl in urban centers where the widening gap between haves and have-nots has created chasms into which we're all in danger of falling."
—NPR.org

"A powerful portrait of class and identity in multicultural London. "
—Entertainment Weekly

"One of the most interesting portrayals of 30- something womanhood that I've come across in a long time. For other readers, Smith's brilliant eye and idiosyncratic ear should be ample enticement."
—Bloomberg News

"A master class in freestyle fiction writing. Smith mashes up voices and vignettes, poetry and instant messaging, bedroom preferences and murder, and keeps it all from collapsing into incoherent mush with deft, dry wit. Smith defines characters worth reading."
—Newsday

"In NW, Smith offers a robust novel bursting with life: a timely exploration of money, morals, class and authenticity that asks if we are ever truly the sole authors of our own fate."
—BookPage

À propos de cette édition

• Éditeur: Penguin Press
• Date d'édition: 2012
• ISBN 10: 1594203970
• ISBN 13: 9781594203978
• Reliure: Relié
• Numéro d'édition: 1
• Nombre de pages: 416