Barry Pierce's Reviews > Autumn

2020 update: this is still amazing.

Hailed as the first post-Brexit novel, in Autumn Ali Smith proves to us all that she is probably the greatest writer currently working in the United Kingdom. The fact that this novel was published a mere four months after the disastrous Brexit vote but yet analyses its aftermath as a central theme shows a turnaround that is nearly insane. Smith must have practically vomited this novel into her word processor, which makes its utter flawlessness almost divine.

The novel begins with a man, Daniel Gluck, who seems to have washed up on a beach. Believing he has died he casts his eye along the beach and sees even more like him. The corpses of refugees line the beach, interspersed between lounging sunbathers and laughing children who seem to take no notice of the corpses around them. This opening scene demonstrates Smith's intent with Autumn, she is writing a Zeitgeist novel.

Luckily for Daniel, this scene is all a dream, as he is in a coma. Most days, in the chair beside him is a woman who the nurses believe is his granddaughter. She is no relation. She is Elisabeth (with an S) Demand (from the French, Du Monde). She is the tentpole upon which this novel drapes. Autumn is a exploration of her life and of those around her. But it is also a study of every person living in Great Britain post-Brexit. It is the story of Christine Keeler, yes THAT Christine Keeler, of Profumo fame. And it is the story of Pauline Boty. But I'll let you discover the wonder that she was.

Autumn is oftentimes hilarious, touching, informative and playful. Smith is still the master of structure and form and plays around with each like a master conductor. There are no flaws in this novel. If I had read it when it was published Autumn would have by far been my favourite novel of the year. Ali Smith can do no wrong.