Zadie Smith's new book gathers essays from nearly a decade. She examines art, politics, and personal memory. The collection stands out for its openness to doubt and change.
Zadie Smith's latest book doesn't offer easy answers. Instead, she puts uncertainty at the center of 'Muertos y vivos', a collection of thirty essays written between 2016 and 2025. Smith questions her own views throughout, inviting readers to join her in that process. According to El País, Salamandra published the anthology, which covers topics from art and politics to technology and culture.
The book is organized into five sections: 'Contemplando', 'Considerando', 'Reconsiderando', 'Recordando', and 'Confesando'. This structure lets Smith move between art criticism, political analysis, personal memories, and cultural commentary without settling into a single viewpoint. The essays touch on subjects like the abuse of power in the film 'Tár', climate change, and the decline of the welfare state in the UK. However, recent Spanish media note that these five section titles have not been independently confirmed by the publisher or Smith herself.
The release of 'Muertos y vivos' coincided with Zadie Smith's appearance at the Festival de las Ideas in Madrid, where she discussed the book alongside Édouard Louis.
What connects these essays is Smith's way of looking at moments when her own thinking is unsettled. She examines these points of doubt closely, searching for new understanding. The title reflects this duality: the 'dead' are writers she remembers—Joan Didion, Toni Morrison, Philip Roth, Martin Amis, Hilary Mantel—while the 'living' are the passions that keep her going, from literature and music to cities and relationships. As La Razón reports, the collection includes obituary essays on figures like Philip Roth and Joan Didion, as well as pieces on technology, the Trump era, and the Gaza conflict.
Personal stories run through the book, grounding abstract ideas in real experience. Smith recalls nearly falling from a rooftop and credits her own body size for her survival. She also revisits the memory of a former boyfriend who later committed a violent crime. These aren't confessions for their own sake, but attempts to get closer to difficult realities.
Politics is more present here than in Smith's earlier work. Even essays about art or pop culture reflect her concern for social issues. The debate around her piece 'Shibolet', first published in 'The New Yorker', shows her approach: she stands by her beliefs but is willing to reconsider, especially on complex topics like pro-Palestinian protests. For Smith, the essay is a place where ambiguity is not just allowed, but necessary.
According to El País and La Razón, 'Muertos y vivos' is not a novel but a non-fiction anthology, gathering thirty essays written over nearly a decade. The book addresses a broad spectrum of themes, including art, politics, technology, climate, and the lives of major literary figures, reflecting Smith's engagement with both personal and global issues.
Smith also looks at technology and its effects on attention and polarization. She is clear about the downsides of digital distraction, but argues that attention, empathy, and imagination are ways to push back. Her writing is direct and accessible, making even difficult subjects easier to approach.
Smith doesn't promise closure. Readers may finish the book with as many questions as they started with, but likely come away more alert and attentive. This willingness to stay with uncertainty, to avoid easy conclusions, is what gives 'Muertos y vivos' its strength. In a time of quick takes and rigid opinions, Smith's openness to doubt feels rare and necessary.
Smith's approach matters for anyone interested in the essay's role in contemporary literature. She avoids easy conclusions, stays open to change, and values emotional honesty over ideology. 'Muertos y vivos' is more than a collection of essays; it's an invitation to think and question alongside the author. In a climate that often rewards certainty, Smith reminds us that honest writing is often the most uncertain.
