WINNER OF THE ORANGE PRIZE FOR FICTION
SHORTLISTED FOR THE MAN BOOKER PRIZE
From the acclaimed author of Swing Time, White Teeth and Grand Union, discover a brilliantly funny and deeply mving story about love and family
'I didn't want to finish, I was enjoying it so much' Evening Standard
'Thrums with intellectual sass and know-how' Literary Review
'Filled with humour, generosity and contemporary sparkle' Daily Telegraph
'Satirical, wise and sexy' Washington Post
Why do we fall in love with the people we do? Why do we visit our mistakes on our children? What makes life truly beautiful?
Set between New England and London, On Beauty concerns a pair of feuding families - the Belseys and the Kipps - and a clutch of doomed affairs. It puts low morals among high ideals and asks some searching questions about what life does to love. For the Belseys and the Kipps, the confusions - both personal and political - of our uncertain age are about to be brought close to home: right to the heart of family.
Truly human, fully ourselves, beautiful," muses a character in Smith's third novel, an intrepid attempt to explore the sad stuff of adult life, 21st century style: adultery, identity crises and emotional suffocation, interracial and intraracial global conflicts and religious zealotry. Like Smith's smash debut, White Teeth (2000), this work gathers narrative steam from the clash between two radically different families, with a plot that explicitly parallels Howards End. A failed romance between the evangelical son of the messy, liberal Belseys Howard is Anglo-WASP and Kiki African-American and the gorgeous daughter of the staid, conservative, Anglo-Caribbean Kipps leads to a soulful, transatlantic understanding between the families' matriarchs, Kiki and Carlene, even as their respective husbands, the art professors Howard and Monty, amass mat riel for the culture wars at a fictional Massachusetts university. Meanwhile, Howard and Kiki must deal with Howard's extramarital affair, as their other son, Levi, moves from religion to politics. Everyone theorizes about art, and everyone searches for connections, sexual and otherwise. A very simple but very funny joke that Howard, a Rembrandt scholar, hates Rembrandt allows Smith to discourse majestically on some of the master's finest paintings. The articulate portrait of daughter Zora depicts the struggle to incorporate intellectual values into action. The elaborate Forster homage, as well as a too-neat alignment between characters, concerns and foils, threaten Smith's insightful probing of what makes life complicated (and beautiful), but those insights eventually add up. "There is such a shelter in each other," Carlene tells Kiki; it's a take on Forster's "Only Connect ," but one that finds new substance here.