English, as a subject, never really got over its upstart nature. It tries to bulk itself up with hopeless jargon and specious complexity, tries to imitate subjects it can never be.
Interpretation
The quote critiques how English, as a subject, often overcomplicates itself in an attempt to seem more sophisticated.
Zadie Smith's quote reflects her frustration with the subject of English, suggesting that it lacks a genuine essence and instead relies on unnecessary jargon and complexity to appear more academic. This commentary highlights the challenge of truly understanding and appreciating literature and language, as the subject often tries to emulate the rigor of other disciplines without achieving the same depth or clarity.
In practice
During a lecture on modern literature, a professor could use this quote to encourage students to express their ideas more clearly.
Because immigrants have always been particularly prone to repetition - it's something to do with that experience of moving from West to East or East to West or from island to island. Even when you arrive, you're still going back and forth; your children are going round and round. There's no proper term for it - original sin seems too harsh; maybe original trauma would be better.
You know, you don't expect everyone to be as educated as everyone else or have the same achievements, but you expect at least to be offered at least some of the opportunities, and libraries are the most simple and the most open way to give people access to books.
He did not consider if or how or why he loved them. They were just love: they were the first evidence he ever had of love, and they would be the last confirmation of love when everything else fell away.
We cannot be all the writers all the time. We can only be who we are. Which leads me to my second point: writers do not write what they want, they write what they can.
I think of reading like a balanced diet; if your sentences are too baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka as roughage.
I never attended a creative writing class in my life. I have a horror of them.
When I was 13, I started working in a nightclub with Ray Charles. That's the greatest school in the world, the school of the streets. Ray taught me how to read in Braille. He was only two years older than me, but it was like he was 100 years older.
I don't know where to start," one [writing student] will wail. Start with your childhood, I tell them. Plug your nose and jump in, and write down all your memories as truthfully as you can. Flannery O' Connor said that anyone who has survived childhood has enough material to write for the rest of his or her life. Maybe your childhood was grim and horrible, but grim and horrible is Okay if it is well done. Don't worry about doing it well yet, though. Just get it down.
Whenever you write, whatever you write, never make the mistake of assuming the audience is any less intelligent than you are.
We must build a world free of unnecessary barriers, stereotypes, and discrimination. ... policies must be developed, attitudes must be shaped, and buildings and organizations must be designed to ensure that everyone has a chance to get the education they need and live independently as full citizens in their communities.
I run the Actor's Studio on the West Coast, and one of the things I say all the time to the people I teach - many of whom are acting teachers - is that an actor needs to make choices that make him present.
I think that the training of architects allows you to see what will happen ten years ahead of time, or twenty. It's not guessing, it's not intuitive, it's based on research - and we may be wrong.
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