“...the wicked lie, that the past is always tense and the future, perfect.”
― Zadie Smith, White Teeth



I planned on writing my full review of this book a couple days after I read it in October of 2014. I was afraid, however, if I wrote it immediately it would be too sappy, too indulgent, too full of praise. I would probably just go on and on and you all might think I was in love or something. So, like I am want, I put the review off -- meaning to get to it -- and here I am finally writing about the book almost two years after I first read it. I don't know if the delay points more towards my sometimes best laid plans falling and failing, or my anal need to complete the circle and check things off lists.

Seriously, the book was fantastic. I loved it. It was a big, hairy, kinky, ambitious first novel and Zadie Smith pulled it off. I'm not sure why I'm reading so many novels (McTeague) concerned with dentistry and teeth lately. A bit weird. Anyway, enough!

I'm glad I waited, however, because Zadie Smith seems to posses for England that same fresh breath that Lin-Manuel Miranda exhibits with his musical Hamilton. Sometimes, a place is best described by immigrants to that place. Sometimes, the change that happens to a city or nation because of immigrants is hard to measure in the first couple years. Just look at London now. London has elected its first Muslim mayor. This has more to do with some of the huge demographic changes than with a super-multiculturalism in London, but it still isn't nothing.

I remember reading a short article in the Guardian a while back that pointed out that in regards to Muslim, Hindu, and Sikh, “the three groups share many areas in common, but the Punjabi Sikhs in Southall and southeast London, the Gujarati Hindus in northwest London, and the Bengali Muslims in Tower Hamlets stand out most of all.” (The Guardian). I loved realizing the London of Pepys, Dickens and Shakespeare was now a completely different place. It was a place where the colonized were becoming the colonizers. It was a giant geography of Karma, and not in a bad way. We often never fully grasp the bad and the good and the unintended of our decisions and policies. I'm pretty damn sure Queen Victoria and those who advised her and followed her -- NEVER saw this coming as they began the British Raj.


I love how 'White Teeth' swirls and dances and dervishes with ideas of race, identity, and religious antagonism. The book is a fiction, of course, but the competition between ethnicities, even while the white majority loses their shit is not fiction. Even though 'White Teeth' debuted as the 21st century was dawning, it painted a fictionalized but very real novel about the struggles America, England, and Europe are going through right now. Think of Europe and America's reaction to Muslim refugees, the hostility of the right to Barack Obama citizenship and race, the fear that drives the radical right agendas from Hungary to Norway as Western Europe and Western Civilization loses (gradually) their majority lock on political and demographic power. When the mayor of London and the President of the United States of America wouldn't have been allowed to eat in the same high-brow London and New York clubs as presidents and mayors did 60-years-ago, it is kinda amazing to see how far we've come. However, it is also humbling when you read blogs, comments, and hell, just watch Trump on Fox News. There is a certain shaded infinity of how far we still need to go.

Anyway, back to 'White Teeth'. The brilliance of this book is Zadie Smith addresses all of this with humor, beauty and narrative magic. She avoids the twin traps of triviality and preachiness. She spins a fascinating yarn that entertains while pushing the reader to grapple with the realities that were faced by Archie Jones and Samad Iqbal in 1945, and the realities we faced when Obama was elected, and the problems we all currently face.

Fundamentally, I believe, things become a lot simpler when we can view people as individuals. Viewing Zadie Smith as an individual it is easy to see her brilliance, her potential, and her ability from her first book to play with the big boys of English fiction. The future is already here and Zadie Smith is just waiting for history and the rest of us to catch up.

A flexuous saga of ethics, ideals, passions, and relationships between three very different but close knit families in London. Filled with humor, and all the varying chaos that comes with clashing beliefs, desires, and motivations, this novel widely explores the experiences of those just trying to get by. The prose has a unique flare that gives the impression of living alongside each character as the years go by, the emotions building up until they finally implode.

Zadie Smith (1975-) en su ópera prima Dientes blancos (2000) traza un relato costumbrista de un barrio de inmigrantes londinense durante las décadas de los 70, los 80 y los 90. Toma como referencia una atípica amistad, forjada por el azar durante la primera guerra mundial, entre Samad, un musulmán moreno originario de Bangladesh, bien parecido, educado, orgulloso y testarudo, y Archie, un blanco ateo inglés, poco agraciado, pusilánime, indeciso e ingenuo, que reaparece después de 30 años y a la que ambos se aferran para soportar unas vidas que no funcionan como ellos habían esperado.

Zadie Smith se apropia de sus vidas y las de sus familias para construir un microcosmos donde ejemplificar los múltiples obstáculos a los que los inmigrantes se enfrentan para conseguir su lugar en el mundo. Obstáculos motivados por prejuicios religiosos, culturales, sociales, económicos, raciales, generacionales, de género, de identidad… de los demás, pero también de ellos mismos y que los lleva a buscar diversas formas, muchas veces radicales, de ser aceptados por un país, una religión, una familia, unos amigos... Porque la sensación que se observa con más intensidad en Dientes blancos es la de vacío, un vacío que hay que llenar cueste lo que cueste, aunque eso signifique equivocarse muchas veces y sufrir sin remedio.

Aparte del interés de estas experiencias vitales, lo que hace diferente esta obra es la manera que la autora eligió para contárnoslas. Durante sus más de 500 páginas se mantiene un tono de humor, incluso irónico, con unas ingeniosas y acertadas apreciaciones en la descripción de personajes y situaciones que aleja la lectura de un tremendismo y un juicio moral que hubiera sido demasiado ingenuo.

Para algunos será frivolidad, para otros normalización, para mí sencillamente una buena elección de estilo. En cualquier caso: lectura interesante.

Zadie Smith is a consummate literary artist. I am continually amazed by her ability to weave a complex tapestry of words and characters. And I am dumbfounded that she wrote this book when she was twenty-four (:brain exploding:).

This book started out so strong, but I felt like the story lost steam along the way. She created so many amazing story-lines and characters, but as the book progressed, she seemed to focus on the wrong ones. It was like watching a movie and wishing the director had selected different shots--different angles.

Especially toward the end, HUGE plot points occurred without the necessary amount of emotional detail. Instead, a writing style that seemed witty and humorous to me toward the beginning of the book began to feel more and more pedantic.

And as we rushed toward the book's denouement, I found myself bored by Zadie Smith's literary decisions--why focus on the animal rights group? Tell me more about Alsana and Clara, Magid and Millat, and Irie. I finished this book and I wasn't satisfied with the ending (why???), but I did love the vibrant, nuanced characters and the precise, intelligent prose.