to mention is the book itself: How to be both is split into two parts: one involving a 15th-century artist, the other set in present-day Cambridge, and which section comes first in your copy is strictly a matter of chance (the electronic. "But the first thing we see her mother counters, "and most times the only thing we see, is the one on the surface. Surveillance, though, is not always a trauma. Androgyny, history, puns (to which George and her family are addicted sarcasm, Del Cossa's complex motives for requesting more money (do we make art for itself or for the rewards it brings, or for both? Francesco also happens in her narration to drop in oddly contemporary lingo (just saying does this mean the entire second part is a projection of Georges imagination? She begins to watch pornographic films obsessively; the most disturbing features a drugged teenage girl and an older man. Behind all the stylistic razzle-dazzle is a big thumping heart finding new ways to direct the novel. Once I settled into del Cossas account, which explores the circumstances of how the artists legendary fresco came to be, I began to make connections and understand why Smith would so abruptly leave George.
4 Maria Calinescu Ali Smith s novel strongly suggests that sight is the most important human sense because it underlies human perception and permits the minds eye.18 The characters in How to be both eventually succeed in overcoming both their fear of being watched, and.
Ali Smith's latest work, on the Man Booker 2014 shortlist, subtly but surely reinvents the novel.
In Artful, a perceptive and playful book of essays written in 2012, Smith referred to orsters annoying assertion that it is never possible for a novelist to deny time inside the fabric of his novel.
Ali Smith s sly and shimmering double helix of a novel, How to Be Both, a finalist for the Man Booker Prize, opens with a flourish, as a ribbon of words unfurls down the page: Ho this is a mighty twisting thing fast.
Opponents of the death penalty essays, Makers comments essays,
Her novels consistently attract serious acclaim and discussion and have won her a dedicated readership who are drawn again and again to the warmth, humanity and humor of her voice. I read a copy from the other half; mine begins with a disembodied spirit being wrenched up through the earth to find itself, invisible and inaudible, in a museum gallery, staring at the back of a boy looking at a painting. But how would a reader who received Francescos story first know any of this? By burrowing inside the mind of her mothers favorite artist, might George be trying to keep her mother close at heart? When the figures voice fully materializes, it is in a museum observing a young girl (whom it mistakes for a boy) staring at another picture. In a flashback scene in Ali Smith's Man Booker-longlisted new novel, a British mother visiting Italy sits in a cafe with her two children, boring them with talk of frescos and how art restorers sometimes find underdrawings that differ significantly from the final painted image. The first part focuses on George (short for Georgia a precocious, erudite teenager still deeply mourning the sudden death of her mother the previous year. When the section begins, her mother, a marketer of subversive art, who is also convinced that she is being spied upon by a friend, poses a moral conundrum to George about an ancient artist who worked on a royal project with other artists but believed. Is George's portion of the novel, as it seems to me, the more profound one, or do I feel this only because as I reached the resolution of her story, the cumulative power of the whole book had taken effect?
Buy How to be both by Ali Smith from the Telegraph Bookshop. Though horrified, George comes to think of her habitual viewing as an act of witnessing that also works to atone for what the girl in the film might have suffered; the watching changes the structures of Georges brain and heart and certainly her eyes. The painting is the work of the spirit itself, made back when it was. "Do things that happened not exist, or stop existing just because we can't see them happening in front of us?" It's a question that applies to people, too, for George's mother will also ask her: "Will I ever, as far as you're concerned, be allowed.