- 209,00 kr
To piger fra det nordvestlige London drømmer om at blive dansere, men kun den ene har talent. Den anden er optaget af rytme og tid, af sorte kroppe og sort musik, af hvad det vil sige at høre til og være fri. De to piger udvikler et tæt, men aldrig ukompliceret venskab, som ender pludseligt, da pigerne er i begyndelsen af tyverne. Et venskab som de aldrig genoptager, men som de heller ikke kan glemme. Tracy bliver professionel danser, mens fortælleren lægger barndommens arbejderkvarter bag sig og rejser verden rundt som assistent for Aimee, en verdenskendt popstjerne. Men da deres vejere senere krydses, har de begge forandret sig. Med Swing Time har Zadie Smith skrevet en sprudlende og globaliseret samtidsroman om venskab, musik og rødder, der ikke slipper så let.
At a dance class offered in a local church in London in the early 1980s, two brown girls recognize themselves in one another and become friends. Tracey has a sassy white mum, a black father in prison, and a pink Barbie sports car. The other girl, the narrator of Smith's (NW) powerful and complex novel, remains unnamed. Although she lives in the same public housing as Tracey, she's being raised among books and protests by an intellectual black feminist mother and a demure white father. As with Smith's previous work, the nuances of race relations are both subtle and explicit, not the focus of the book and yet informing every interaction. The girls both love dancing, but this commonality reflects their differences more than their similarities. Whereas Tracey's physical grace is confident and intuitive, the narrator is drawn to something more ephemeral: "a dancer was a man from nowhere, without parents or siblings, without a nation or people, without obligations of any kind, and this was exactly the quality I loved," she thinks. The book tracks the girls as they move in different directions through adolescence and the final, abrupt fissures of their affection; it also follows the narrator into adulthood, where she works for a decade as the personal assistant to a world-famous (white) pop star named Aimee. In this role, she's able to embody what she admired about dancers as a child: she travels constantly, rarely sees her mother, and has lost touch with everyone other than her employer. Once Aimee begins to build a girls' school in an unnamed Muslim West African country, the novel alternates between that world and the London of the girls' youth. In both places, poverty is a daily struggle and the juxtaposition makes for poignant parallels and contrasts. Though some of the later chapters seem unnecessarily protracted, the story is rich and absorbing, especially when it highlights Smith's ever-brilliant perspective on pop culture.