Mixed Race Studies

Shaken Out of Time: Black Bodies and Movement in Zadie Smith’s Swing Time

Virginia Quarterly Review
Volume 93, Number 1, Winter 2017
pages 196-199

Kaitlyn Greenidge
Bennington College, Bennington, Vermont

Swing Time By Zadie Smith, Penguin, 2016, 464p. HB, $27.

Midway through Zadie Smith’s new novel, Swing Time, the unnamed narrator watches two girls walk “hand in hand” down a dusty road in an anonymous, fictionalized African country. “They looked like best friends,” she notes—that “looked” suggesting the mysteries of friendship that the novel has been dedicated to up until that point. “They were out at the edge of the world, or of the world I knew, and watching them, I realized it was…almost impossible for me to imagine what time felt like for them, out here.” The girls inevitably remind the narrator of her own lost, best friend, Tracey, who angrily haunts the novel, forever resisting the narrator’s attempts to regulate her to incorporeality. Of their friendship, she notes, “We thought we were products of a particular moment, because as well as our old musicals, we liked things like Ghostbusters and Dallas. We felt we had our place in time. What person on earth doesn’t feel this way?” But the narrator is unable to place the two girls before her in any time. “When I waved at those two girls…I couldn’t rid myself of the idea that they were timeless symbols of girlhood…I knew it couldn’t possibly be the case but I had no other way of thinking of them.”

In an interview in T: The New York Times Style Magazine this past fall, Smith noted, “It just seemed to me that what was done to black people, historically, was to take them out of the time of their life. That’s what fundamentally happened. We had a life in one place and it would have continued and who knows what would have happened—nobody knows. But it would’ve gone a certain way, and we were removed from that timeline, placed somewhere entirely different, and radically disrupted. And the consequences of that are pretty much unending. Every people have their trauma. It’s not a competition of traumas. But they’re different in nature. And this one is about having been removed from time.” Swing Time is a novel that is fundamentally concerned with this question. What do we do, how do we respond, when we are violently shaken out of time, when we lose the thread of our own lives, when we are so certain of the narrative of our life and then are suddenly, jarringly, shaken loose? How do we reconcile, what are the lies and myths we tell ourselves, to try and reclaim our time? And when do those lies hurt us and when do they help us find our footing again?

When we meet the narrator of Swing Time, she is deep in the midst of mysterious disgrace, briefly infamous worldwide for a perceived wrong she’s committed against a Madonna-like global superstar who goes by the single name of Aimee. The narrator is Aimee’s assistant: She has worked tirelessly for the past decade helping Aimee, a white woman, set up a school for girls in that unidentified African country. Aimee is a woman who has created her own myth for herself, using sex and youth and pop music to forge a destiny that would not have been available to any woman a generation before her. The narrator meets her by chance, devotes her life to her, and finds herself unmarried and childless, a cog in the superstar celebrity machine of Aimee’s life. But it becomes clear, even though the narrator has spent her adult life serving Aimee, it’s not the pop star who holds her attention. Instead, she exists in a kind of suspended dream state, reliving her brief friendship with Tracey, the only other mixed-race girl in the narrator’s neighborhood in the early 1980s. The narrator’s parents are genteelly poor, and her mother, in particular, is ambitious: She reads postcolonial theory and takes courses on Marxism, ruthlessly forging her identity as a poor, black woman in Britain into a professional activist and self-conscious, self…

Black and Blue and Blond

Virginia Quarterly Review
Volume 91, Number 1 (Winter 2015)
pages 80-87

Thomas Chatterton Williams

The author and his daughter at her great-grandmother’s house in Normandy, 2014.

Where does race fit in the construction of modern identity?

In 1517, Fray Bartolomé de las Casas, feeling great pity for the Indians who grew worn and lean in the drudging infernos of the Antillean gold mines, proposed to Emperor Charles V that Negroes be brought to the isles of the Caribbean, so that they might grow worn and lean in the drudging infernos of the Antillean gold mines. To that odd variant on the species philanthropist we owe an infinitude of things…”

—Jorge Luis Borges, “The Cruel Redeemer Lazarus Morell”

“But any fool can see that the white people are not really white, and that black people are not black.”

—Albert Murray, The Omni-Americans

“Our white is so white you can paint a chunka coal and you’d have to crack it open with a sledge hammer to prove it wasn’t white clear through.”

—Ralph Ellison, Invisible Man

There is a millennia-old philosophical experiment that has perplexed minds as fine and diverse as those of Socrates, Plutarch, and John Locke. It’s called Theseus’s Paradox (or the Ship of Theseus), and the premise is this: The mythical founding-king of Athens kept a thirty-oar ship docked in the Athenian harbor. The vessel was preserved in a sea-worthy state through the continual replacement of old timber planks with new ones, piecemeal, until the question inevitably arose: After all of the original planks have been replaced by new and different planks, is it still, in fact, the same ship?

For some time now, a recurring vision has put me in mind of Theseus and those shuffling pieces of wood. Only, it’s people I see and not boats: a lineage of people distending over time. At the end of the line, there is a teenage boy with fair skin and blond hair and probably light eyes, seated at a café table somewhere in Europe. It is fifty or sixty years into the future. And this boy, gathered with his friends, is glibly remarking—in the dispassionate tone of one of my old white Catholic school classmates claiming to have Cherokee or Iroquois blood—that as improbable as it would seem to look at him, apparently he had black ancestors once upon a time in America. He says it all so matter-of-factly, with no visceral aspect to the telling. I imagine his friends’ vague surprise, perhaps a raised eyebrow or two or perhaps not even that—and if I want to torture myself, I can detect an ironic smirk or giggle. Then, to my horror, I see the conversation grow not ugly or embittered or anything like that but simply pass on, giving way to other lesser matters, plans for the weekend or questions about the menu perhaps. And then it’s over. Just like that, in one casual exchange, I see a history, a struggle, a whole vibrant and populated world collapse without a trace. I see an entirely different ship…

…I realize now that this vision of the boy from the future I’ve had in my head for the past year traces itself much further back into the past. It must necessarily stretch back at least to 1971, in San Diego, where my father, who was—having been born in 1937 in Jim Crow Texas—the grandson of a woman wed to a man born before the Emancipation Proclamation, met my mother, the native-Californian product of European immigrants from places as diverse as Austria-Hungary, Germany, England, and France. This unlikely courtship came all of four years after the Loving v. Virginia verdict repealed anti-miscegenation laws throughout the country. In ways that are perhaps still impossible for me to fully appreciate, their romance amounted to a radical political act, though now, some four decades on, it seems a lot less like any form of defiance than like what all successful marriages fundamentally must be: the obvious and undeniable joining of two people who love and understand each other enormously.

But that’s not the beginning, either. This trajectory I now find myself on no more starts in San Diego than in Paris. Not since it is extremely safe to assume that my father, with his freckles, with his mother’s Irish maiden name, and with his skin a shade of brown between polished teak and red clay, did not arrive from African shores alone. As James Baldwin, perspicacious as ever, noted of his travels around precisely the kind of segregated Southern towns my father would instantly recognize as home, the line between “whites” and “coloreds” in America has always been traversed and logically imprecise: “the prohibition … of the social mingling [revealing] the extent of the sexual amalgamation.” There were (and still are): “Girls the color of honey, men nearly the color of chalk, hair like silk, hair like cotton, hair like wire, eyes blue, gray, green, hazel, black, like the gypsy’s, brown like the Arab’s, narrow nostrils, thin, wide lips, thin lips, every conceivable variation struck along incredible gamuts…” Indeed, to be black (or white) for any significant amount of time in America is fundamentally to occupy a position on the mongrel spectrum—strict binaries have always failed spectacularly to contain this elementary truth.

And yet in spite of that, I’ve spent the past year trying to think my way through the wholly absurd question of what it means for a person to be or not to be black. It’s an existential Rubik’s Cube I thought I’d solved and put away in childhood. My parents were never less than adamant on the point that both my older brother and I are black. And the in many ways simpler New Jersey world we grew up in—him in the seventies and eighties, me in the eighties and nineties—tended to receive us that way without significant protest, especially when it came to other blacks. This is probably because, on a certain level, every black American knows what, again, Baldwin knew: “Whatever he or anyone else may wish to believe… his ancestors are both white and black.” Still, in the realm of lived experience, race is nothing if not an improvisational feat, and it would be in terribly bad faith to pretend there is not some fine, unspoken, and impossible-to-spell-out balance to all of this. And so I cannot help but wonder if indeed a threshold—the full consequences of which I may or may not even see in my own lifetime—has been crossed. (It’s not a wholly academic exercise, either, since my father was an only child and in the past year my brother married and had a daughter with a woman from West Siberia.)…

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