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Ali Smith (1) (1962–)

Autor(a) de The Accidental

Para outros autores com o nome Ali Smith, ver a página de desambiguação.

47+ Works 14,385 Membros 625 Críticas 1 Favorited

About the Author

Image credit: © Jerry Bauer/AP


Obras por Ali Smith

The Accidental (2006) 2,763 exemplares
Autumn (2016) 2,014 exemplares
How to Be Both (2014) 1,561 exemplares
Hotel World (2001) 1,238 exemplares
Winter (2017) 1,066 exemplares
There But For The (2011) 1,020 exemplares
Girl Meets Boy: The Myth of Iphis (2007) 788 exemplares
Spring (2019) 738 exemplares
Summer (2020) 585 exemplares
Public Library and Other Stories (2015) 467 exemplares
Artful (2012) 357 exemplares
Companion Piece (2022) 315 exemplares
The Whole Story and Other Stories (2003) 310 exemplares
The First Person and Other Stories (2008) 264 exemplares
Like (1997) 193 exemplares
Free Love and Other Stories (1995) 130 exemplares
Other Stories and Other Stories (1999) 119 exemplares
The Book Lover (2008) 60 exemplares
The Story of Antigone (2011) 48 exemplares
The Reader (2006) — Editor — 47 exemplares
The Seer (2006) 23 exemplares
New Writing 13 (2005) — Editor & Introduction — 17 exemplares
Shire (2013) 17 exemplares
BP Portrait Award 2016 (2016) 10 exemplares
Writ (2006) 8 exemplares
Shorts III (2000) 7 exemplares
The Door 3 exemplares
Estate (2021) 3 exemplares
The Switch 2 exemplares
Whiter 1 exemplar
Tate Etc. (Issue 7, Summer 2006) — Contribuidor — 1 exemplar
Last 1 exemplar

Associated Works

The Book of a Thousand Days (2007) — Artista da capa, algumas edições2,553 exemplares
Wise Children (1991) — Introdução, algumas edições1,907 exemplares
The Door (2005) — Introdução, algumas edições1,783 exemplares
Um grito de longe (1988) — Introdução, algumas edições1,254 exemplares
The Infernal Desire Machines of Doctor Hoffman (1972) — Introdução, algumas edições1,087 exemplares
The Hearing Trumpet (1967) — Introdução, algumas edições1,078 exemplares
The True Deceiver (1982) — Introdução, algumas edições979 exemplares
The Collected Stories of Katherine Mansfield (1945) — Introdução, algumas edições888 exemplares
The Winner's Crime (2015) — Artista da capa, algumas edições877 exemplares
Fair Play (1989) — Introdução, algumas edições712 exemplares
Trumpet (1998) — Introdução, algumas edições624 exemplares
A Winter Book (1998) — Introdução, algumas edições586 exemplares
The Comforters (1957) — Introdução, algumas edições502 exemplares
The Abbess of Crewe (1974) — Introdução, algumas edições466 exemplares
Sculptor's Daughter: A Childhood Memoir (2013) — Introdução, algumas edições298 exemplares
Travelling Light (1987) — Prefácio, algumas edições233 exemplares
Greenvoe (1972) — Introdução, algumas edições192 exemplares
Love in a Bottle (1935) — Prefácio, algumas edições98 exemplares
Genius and Ink: Virginia Woolf on How to Read (2019) — Prefácio — 96 exemplares
The Mammoth Book of Lesbian Short Stories (1999) — Contribuidor — 92 exemplares
Poems Between Women (1997) — Contribuidor — 91 exemplares
Ox-Tales: Fire (2009) — Contribuidor — 80 exemplares
Midsummer Nights (1702) — Contribuidor — 73 exemplares
In bed with … (2008) — Contribuidor — 56 exemplares
Furies: Stories of the wicked, wild and untamed (2023) — Contribuidor — 52 exemplares
Sex and Death: Stories (2016) — Contribuidor — 42 exemplares
Refugee Tales (2016) — Contribuidor — 34 exemplares
Diva Book of Short Stories (2000) — Contribuidor — 32 exemplares
First Light: A celebration of Alan Garner (2016) — Contribuidor — 29 exemplares
Necrologue: The Diva Book of the Dead and the Undead (2003) — Contribuidor — 25 exemplares
Why Willows Weep: Contemporary Tales from the Woods (2011) — Contribuidor — 22 exemplares
Women on Nature (2021) — Contribuidor — 20 exemplares
TLS Short Stories (2003) — Contribuidor — 12 exemplares
The Brighton Book (2005) — Contribuidor — 11 exemplares
Small Talk: Memories of an Edwardian Childhood (1973) — Introdução, algumas edições11 exemplares
The Seven Deadly Sins: A Celebration of Virtue and Vice (2012) — Contribuidor — 9 exemplares
Derek Jarman's modern nature — Contribuidor — 2 exemplares
Road Stories: New Writing Inspired by Exhibition Road (2012) — Contribuidor — 1 exemplar


a ler (2,422) Amizade (111) Arte (157) Biblioteca (101) Booker Prize Shortlist (113) Brexit (107) British fiction (95) Britânico (360) contemporâneo (120) contos (756) e-livro (139) Escocês (142) Escócia (160) Fairy Tail (153) Família (144) Fantasia (528) Ficção (3,806) ficção contemporânea (162) Finlândia (151) Hungria (115) Inglaterra (302) Inglês (94) lido (333) literary fiction (214) Literatura (282) literatura britânica (257) Literatura inglesa (169) Londres (131) mulheres (100) NYRB (123) por ler (169) Realismo mágico (105) Reino Unido (140) Romance (132) Romance (704) Surrealismo (111) Século XX (284) Século XXI (163) Ya (154) Ya (198)

Conhecimento Comum



2017 Booker Prize longlist: Autumn by Ali Smith em Booker Prize (Outubro 2017)
2014 Booker Prize longlist: How to Be Both em Booker Prize (Agosto 2014)
Group Read, April 2014: There But For The em 1001 Books to read before you die (Abril 2014)
England, lit fic, newer, at a party em Name that Book (Janeiro 2012)
The Accidental by Ali Smith em Orange January/July (Janeiro 2012)


(6.5)I only finished this book a few days ago but am already struggling to recall the characters and storyline. Not a good sign. I found it disjointed and uneven.
I did enjoy the portrayal of the relationship between Richard, the aging film director and his longtime friendship with Paddy his scriptwriter, who was dying of cancer.
Spring is the time for hope and new beginnings and following Paddy's death, Richard walks away from his life and catches a train North. When he gets off at a random station and plans to end his life, a 13year old girl, Florence, intervenes and he becomes involved involved in an escapade with her and her companion Brit. Brit works as a Detention Officer at a camp for refugees. Here we learn of the unfair treatment that is being meted out to the detainees by Britain.
There is also an element of surrealism especially around the child Florence. At times I felt I didn't understand what was happening. It did manage to end on a lighter note with Richard contemplating making contact with his estranged adult daughter.
… (mais)
HelenBaker | 35 outras críticas | Feb 26, 2024 |
This novel put me in mind of Nabokov... its distinguishing feature is wordplay, a bit of experiment with form, a cleverness. And a coldness, a sterility. Does anyone care about any of these characters? Can they produce genuine feeling in the reader? Are they doing anything or struggling with anything that engages the reader’s empathy? The character of Astrid, a 12 year old girl trying to emerge into her own, comes closest, but the other characters are a big “who cares?” Amber’s character just makes no sense whatsoever, and she’s the catalyst for most development, so that’s a big issue.

Perhaps I got a bit burned out on Nabokov-ian style after reading his entire corpus of novels. Cleverness is not enough. I want more humanity. This isn’t a badly written book by any means, but it’s not what I’m looking for.
… (mais)
lelandleslie | 112 outras críticas | Feb 24, 2024 |
AnkaraLibrary | 104 outras críticas | Feb 23, 2024 |
It's good, and a quick read, but it didn't blow me away. I felt the same way with the rest of the books in the series. They all have the same rhythm and style, having been written back to back this is expected, and I'm sure they'll come out in an omnibus edition soon. It really is a single, long novel.

They way I feel about the book, and again, the series as a whole, is conflicted. On the one hand, I'm not a big fan of the style overall, which is of a piece with what one could call the contemporary literary novel style. Specifically to this novel, my main problem was the constant punning and wordplay, which I like most of the time, but here is constant and loses its effect (the wonder of language) through constant and repeated use. The other aspect about it is what I call "unearned lyricism," that the attempt to add lyrical weight to lines and moments that I feel haven't earned it organically, but rather only read well and deep superficially, very much like magazine copy. Sometimes, of course, it is actually earned, and this work well, as in any novel.
And I say conflicted because, on the other hand, despite my issues with this style, it has a way of creating vivid and durable mental images, which is a direct result from the style itself. For example, when characters from the previous novels are introduced, and I couldn't remember who they were and what they did, with little mental effort I was able to recalle their identities and stories, because of the indelible images they left when reading the previous books; like for example Daniel Gluck with his neighbor, Arthur and Charlotte at his aunt house, Arthur with the same aunt at Greenham, etc.
All that to say, I don't like the style, meaning it's not what I look for in novel, contemporary or otherwise, but it undeniable works. (If you DO enjoy this style, then this is a very good example of it)

Another conflicting, contradictory thing was the characterization. They speak very similarly to each other, but at the same it's not hard to keep track of who's saying what, addled by the identity markers (male child, female child, male adult, female adult 1, female adult 2, etc). The kids speak like adults, and the adults speak like writers (only two of them are actual writers in-universe). It's not that I don't believe that these type of people exist, since it's a very small sample, but it is harder to believe that they would all find and hang around each other.

Now, about the plot. The first section, set in summer 2020, did a good job in piquing my interest, introducing the new characters, and left me wanting to know what happens. However, the momentum is completely gone by the middle sections, the extended flashbacks of Daniel with his father while detained and Daniel's sister Hanna years through the war. They were compelling and well written, but they dragged for me; the whole time I wanted to go back to Grace and her kid's plot, and see what's next for them. Obviously, this is not a that kind of plot-central book, so I really couldn't fault it for this, and although the same device is used in all the other books, the transition from modern day to the past was jarring, and I really wanted to be it over quick.

You will read in the press about the book and in the other reviews that this novel is about, or covers the pandemic, possibly the first one. It really doesn't. (It really is about, you know, summer and the passage of time). The covidness and brexitness of it all isn't central to the plot, but rather something that pervades the atmosphere. In this sense it takes a naturalist point of view of showing how the characters react to both events as fait accompli. Smith is clearly (justifiable) pissed-off about Brexit, and its glaring and obvious negative effects. This view is stated explicitly through dialogue and narrative. But again, it's not something constant, but something hanging in the air.
So I wouldn't call it a "Covid novel" or a "Brexit novel" for this reason. As it is, it feels like a cameo of sorts. There are mentions of Shakespeare and Newton, who we all now know were very productive during their lockdowns, and are destined to become staples of the Covid novel, (as well as Camus) if it such thing emerges at all. I feel like they (the author and editors) should've waited a few months to see how if it changed anything. Maybe she will write a sequel or an afterword in the omnibus.

I really like the final section of the book, with Charlotte and Iris dealing with the first weeks of lockdown. The image of her lying on her bed paralized by the new state of affairs is one of those images I was talking about, and if it were extended to novel length is one I'd like to read

Lastly, this was the first book of the series I read while in the season the books is set it, having read the others in late spring/early summer of 2019. Summer, where I'm at, has been particularly hellish, averaging 30° every day, so I really, really couldn't relate with the constant paeans to the summertime in the book. Summer sucks right now.
… (mais)
avv999 | 31 outras críticas | Feb 16, 2024 |


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Peter Hobbs Contributor
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John Logan Contributor
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Daren King Contributor
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Jackie Kay Contributor
Frances Gapper Contributor
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Susan D. Hill Foreword
Merete Alfsen Translator
David Hockney Cover artist
Melody Grove Narrator
Oliver Munday Cover designer
Stina Nielsen Narrator
Kristiina Drews Translator
Simon Prebble Narrator
Jeff Woodman Narrator
Ruth Moore Narrator
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