Ali Smith's smart stories in the collection often employ multiple perspectives to get at the truth in relationships. She may relate a tale out of traditional narrative order (as in the fine "Erosive"). Or she
may use several personal points of view. "The Start of Things"
presents both sides of the ugly end of an affair (and a mysterious third side), while
"Paradise" is the shared story of three sisters. (And by the way, judging
from this story, at one time in her life
Smith must have had a rough time in the service industry.)
She is the master of the honkingly outrageous metaphor, like the imaginary pipe band
that haunts the characters of "Scottish Love Songs." Or, in "Being Quick," Death, who we meet in a railway station concourse:
Death was unexpected. He was handsome, balding, a middle-aged man in a suit so light-coloured it seemed contrite, and he was vaguely recognizable, vaguely arty, like a BBC executive from the days when TV still promised both decency and aesthetic ambition, the days when its drama was still courageous and you could trust that the mid-evening news was about what was actually happening in the world, not ratings or money or channel protocol. But those days were over and we both knew it, and anyway I was idealizing them, his smile, which was melancholy but civilized, said.
She is fond of trees, or at least her characters are, as the narrator of "May" goes so far as to become infatuated with one.
No matter how outlandish the events, when she writes (as in "Gothic"), "This actually happened to me," we believe her.
posted:
8:54:07 PM
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