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White Teeth (2000)

por Zadie Smith

Outros autores: Ver a secção outros autores.

MembrosCríticasPopularidadeAvaliação médiaDiscussões / Menções
13,595245429 (3.74)2 / 722
On New Year's morning, 1975, Archie Jones sits in his car on a London road and waits for the exhaust fumes to fill his Cavalier Musketeer station wagon. Archie--working-class, ordinary, a failed marriage under his belt--is calling it quits, the deciding factor being the flip of a 20-pence coin. When the owner of a nearby halal butcher shop (annoyed that Archie's car is blocking his delivery area) comes out and bangs on the window, he gives Archie another chance at life and sets in motion this richly imagined, uproariously funny novel. Set in post-war London, this novel of the racial, political, and social upheaval of the last half-century follows two families--the Joneses and the Iqbals, both outsiders from within the former British empire--as they make their way in modern England.… (mais)
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1990s (156)
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AP Lit (320)
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Inglês (228)  Espanhol (5)  Catalão (3)  Italiano (3)  Holandês (3)  Francês (1)  Finlandês (1)  Todas as línguas (244)
Mostrando 1-5 de 244 (seguinte | mostrar todos)
Hang onto your hats! White Teeth is a roller coaster ride, sure to rid you of your spare change with all of its twists and turns. Within the pages of White Teeth Zadie Smith takes you deep inside the concept of cultural identity through her characters and their dialogue. As an aside, I want to know how Smith conjured up these characters with such perfection. Where did they come from? People like Magid Mahfooz Murshed Mubtasim practically jump off the page, they are so real. I can't give it away, but that final scene with the gun!
White Teeth is like a four-room banquet with endless amounts of food choices. At times I felt overstuffed dealing with all the characters and their various dramas, but I don't discredit Smith's storytelling. She was culturally spot on with little details like the tag for Levi's jeans. What exactly does "shrink to fit" mean anyway? I could see how someone would be confused, especially if English isn't their first language.
All in all, White Teeth was a fun ride, worthy of all the accolades. ( )
  SeriousGrace | Feb 16, 2024 |
Mehh.. a disappointing read. Zadie Smith can definitely write but the characters seemed underdeveloped and flat, despite the novel being 500 pages and full to the brim with content. The writing was the only thing that kept me reading to the end.

2.5 stars ( )
  EllieBhurrut | Jan 24, 2024 |
I read this in college for a class called Modern British Lit. Zadie Smith wrote it when she was 24. 24. So, yeah, it's not perfect, but it's probably one of the best novels ever written by someone not old enough to rent a car. ( )
  LibrarianDest | Jan 3, 2024 |
The characters are interesting though fundamentally unlikeable, and the themes land. But the meandering structure of the story made this a difficult read. I generally like character driven stories with little to no plot, but only when I can connect with the characters enough to actually care about them. I found myself reading this book in small chunks, and each time I put it down I seriously considered whether I wanted to read any further or DNF. Ultimately, I finished, because I wanted to hear what the author had to say, but it took several months to get through it.

Paperback copy, picked up used at Half Price Books ( )
  Doodlebug34 | Jan 1, 2024 |
Smith's writing style is superb, I got a terrific picture of all the characters through their rapid dialogue and quirky descriptions. There were many lines that made me chuckle. But I just wasn't overall interested - the plot really lost me near the end and I found some sections tiresome. However, Smith wrote this at 21 which is staggering. Not everybody can pull this style of narrative off, let alone that young - amazing and impressive.

Can't say I liked it, but there's a lot to like about it. ( )
  hskey | Sep 9, 2023 |
Mostrando 1-5 de 244 (seguinte | mostrar todos)
It follows, for a while, the lives of three poor North London families over several decades of the late 20th Century- the Chalfens, Joneses, and the Iqbals, except that it does not really follow them. There is no coherent thread, just a lot of scenes designed to show us how weird, funny, grotesque, or dull these people of Indian, Jamaican, and Turkish backgrounds are. A few negative reviews have pointed out that Smith, despite her background, has no real grasp of slang- especially that of the Jamaican immigrants the Joneses represent, as she supposedly mixes Jamaican and Rastafarian terms with ease. I have no idea whether this is true or not, but the characters are all stereotypes, and speak in atrocious dialogues, whether or not the patois is correct. To nitpick over the patois when the writing is atrocious is like complaining the rabid dog that bit you also looked flea-bitten.

Conversation is best when it gives the illusion of colloquialism while focusing on the most poetic moments of speech to arrive at illuminating points that a reader can relate to. Conversation, when well used, can be a shortcut o establishing a character's traits and habits, far more easily and quickly than omniscient narration can. Smith has no idea that this is what it can be used for. Instead, she sees it as a way to show hipsterism is alive and well, and she's an initiate of it. The two ostensible leads are Archie Jones- an inveterate liar and Samad Iqbal, a career waiter. They are buddies from World War Two, and the patriarchs of their clans. Archie marries beautiful, but buck-toothed Clara, who hates her Jehovah's Witness mother, thus slipping into an unsavory lifestyle in rebellion. They have a daughter, named Irie. Samad marries a girl named Alsana and has twin boys, Magid and Millat- the former a Fundy Islamist, and the latter a wannabe street thug. Both men are disappointed in life, and an inordinate portion of the book takes place in a dentist's office- hence the title, which also is slang to mean the ideal of a handsome English boy or girl the social climbing foreigners see as ideal mates.

Of course, the children cannot assimilate, and Irie fixates on Millat. Then, nothing much more happens, as the older generations' struggles give way to the younger, including Moslem cultists, genetic experiments on mice, the protests against Salman Rushdie's The Satanic Verses (a cheap way to wrangle a blurb from him- which worked!, as his is the first on the book's blurb page) the Chalfen family, and then the book just ends- as if Smith grew bored with the whole damnable enterprise, and thought she'd just pull the plug. Of course, this end comes only after a hundred and fifty or so pages of a book that seems to want to veer into science fiction before dropping back to failed social satire, and after many other narratives and themes are dropped without reason- admittedly, none were that interesting to begin with, but why start a bad thread if you will not even end it? The book is full of such technical failings, and cannot even qualify as a slice of life tale, in the mold of a lesser A Tree Grows In Brooklyn or the Bridge novels of Evan S. Connell, for it seemingly wants to go somewhere, only to pull back, and just wither.
adicionada por freakslang | editarHackwriters, Dan Schneider (Apr 1, 2007)
 
adicionada por booksaplenty1949 | editarThe Guardian, John Mullan (Oct 12, 2002)
 
Was macht nun diesen Roman aus dem multiethnischen Milieu Londons so bedeutend, dass kaum mehr jemand wagt, auch auf die Schwächen hinzuweisen und sein Übermaß an Figuren und vor allem das versöhnliche Ende zu kritisieren? Der Roman ist vielleicht tatsächlich, wie Zadie Smith selbst sagt, das "literarische Äquivalent eines hyperaktiven, zehn Jahre alten, steptanzenden rothaarigen Kindes" und damit in erster Linie außergewöhnlich. Seine Dialoge sind von einer Vitalität, dass man glaubt, man säße auf dem Oberdeck eines dieser roten Busse. Man genießt die scharfsichtige Analyse auch der unbedeutenden Nebensächlichkeiten und folgt den sich oft verlierenden mäandernden Gedanken, weil Zadie Smith mit Worten umzugehen weiß. Selbst dann, wenn sie philosophische Ideen des Daseins auf "Analogien für den Duracell-Hasen" reduziert, sind Witz, Sentimentalität und eine Form des magischen Realismus eben gerade so wohldosiert, dass es keine Haken gibt, die den Lesefluss behindern.
 
Smith may not sing, but her prose certainly does. Teeth is an epic, omnivorous comedy about London. It's about clashing cultures and generations, about people with too much history in their blood or none at all … White Teeth has far too many characters, and its plot is tortured. But Smith has an astonishing intellect. She writes sharp dialogue for every age and race — and she's funny as hell…[White Teeth] is a dance everybody ought to see.
 
In Zadie Smith’s marvel of a debut novel, White Teeth, London’s cultural melting pot festers and thrives as the millennium — or possibly the apocalypse — approaches … Smith’s ear is sharply tuned to the playful possibilities of language … Reminiscent of both Salman Rushdie and John Irving, Teeth is a comic, canny, sprawling tale, adeptly held together by Smith’s literary sleight of hand.
 

» Adicionar outros autores (6 possíveis)

Nome do autorPapelTipo de autorObra?Estado
Smith, ZadieAutorautor principaltodas as ediçõesconfirmado
Akura, LynnArtista da capaautor secundárioalgumas ediçõesconfirmado
Andersson, ErikTradutorautor secundárioalgumas ediçõesconfirmado
Bayatlı, MefkureTradutorautor secundárioalgumas ediçõesconfirmado
Bennett-Warner, PippaNarradorautor secundárioalgumas ediçõesconfirmado
Brinkman, SophieTradutorautor secundárioalgumas ediçõesconfirmado
Demanuelli, ClaudeTraductionautor secundárioalgumas ediçõesconfirmado
Elden, Willem vanContribuidorautor secundárioalgumas ediçõesconfirmado
Fuente, Ana María de laTradutorautor secundárioalgumas ediçõesconfirmado
Grimaldi, LauraTradutorautor secundárioalgumas ediçõesconfirmado
Henry, LennyNarradorautor secundárioalgumas ediçõesconfirmado
Olender, JeanetteDesignerautor secundárioalgumas ediçõesconfirmado
Panthaki, RayNarradorautor secundárioalgumas ediçõesconfirmado
Riera, ErnestTradutorautor secundárioalgumas ediçõesconfirmado
Sagar, AryaNarradorautor secundárioalgumas ediçõesconfirmado
Sjøgren-Erichsen, TorleifOvers.autor secundárioalgumas ediçõesconfirmado
Timmermann, KlausÜbersetzerautor secundárioalgumas ediçõesconfirmado
Wasel, UlrikeÜbersetzerautor secundárioalgumas ediçõesconfirmado

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Early in the morning, late in the century, Cricklewood Broadway. At 06.27 hours on 1 January 1975, Alfred Archibald Jones was dressed in corduroy and sat in a fume-filled Cavalier Musketeer Estate face down on the steering wheel, hoping the judgment would not be too heavy upon him.
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"Where I come from," said Archie, "a bloke likes to get to know a girl before he marries her."
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On New Year's morning, 1975, Archie Jones sits in his car on a London road and waits for the exhaust fumes to fill his Cavalier Musketeer station wagon. Archie--working-class, ordinary, a failed marriage under his belt--is calling it quits, the deciding factor being the flip of a 20-pence coin. When the owner of a nearby halal butcher shop (annoyed that Archie's car is blocking his delivery area) comes out and bangs on the window, he gives Archie another chance at life and sets in motion this richly imagined, uproariously funny novel. Set in post-war London, this novel of the racial, political, and social upheaval of the last half-century follows two families--the Joneses and the Iqbals, both outsiders from within the former British empire--as they make their way in modern England.

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