There but for the

by Ali Smith Narrated by Anne Flosnik

Overview

At a dinner party in the posh London suburb of Greenwich, Miles Garth suddenly leaves the table midway through the meal, locks himself in an upstairs room, and refuses to leave. An eclectic group of neighbors and friends slowly gathers around the house, and the story of Miles is one told from the points of view of four of them: a woman in her forties called Anna, a man in his sixties called Mark, a woman in her eighties called May, and a ten-year-old child called Brooke. The thing is . . . none of these people knows Miles anything more than glancingly. So how much is it possible to know about a stranger? And what are the consequences of even the most casual, most fleeting meetings we have every day with other human beings?

Brilliantly audacious, disarmingly playful, full of Smith's trademark wit and puns, There But For The is a deft exploration of the human need for separation-from our pasts and from one another-and the redemptive possibilities for connections.

Editorial Reviews

DECEMBER 2011 - AudioFile

The sweet lilt in Anne Flosnik’s intonation lifts this unusual audiobook to a notable height. Essentially the story of a man who locks himself in his hosts’ guest bedroom at a dinner party, the novel assumes the point of view of a new character with each new chapter. Flosnik makes her way through all their voices adroitly, with only occasional distractions, most of which stem from the text itself. Some dialogue, for example, is clunky and self-conscious, but the overall appeal of the production remains steady. Smith’s prose is successful more often than not with its thought-provoking plot twists and unconventional characters. Listeners hoping for something different will find what they seek in this recording. L.B.F. © AudioFile 2011, Portland, Maine

Charles McGrath

…quirky, intricately put together…There but for the is ultimately a book about loss and retention: about what we forget and what we remember, about the people who pass through our lives and what bits of them cling to our consciousness.
—The New York Times

Publishers Weekly - Audio

In the middle of an English dinner party, Miles Garth excuses himself from the table, locks himself in the guest room, and refuses to leave.As the weeks and then months drag on, hostess Gen—portrayed by narrator Anne Flosnik as an afflicted damsel in distress—goes through Miles’s address book to enlist friends, however remote, to coax the unwanted boarder out of his lair. The first rescue attempt is made by Anna—who met Miles decades earlier on a school trip—whom Flosnik deftly renders as a classy and good-natured Glaswegian, perplexed that Miles even remembered her.After Anna, Flosnik’s performance declines: Mark—who met Miles in a theater—sounds much like the audio’s other men, while the voice given to Brooke, the 10-year-old who makes a final attempt at extricating Miles, is too similar to those of the book’s other children—all of them bright and high-pitched. Flosnik’s narration is, however, well paced and entertaining, and this—coupled with Smith’s playful language, rhymes, songs, and imaginative plot—will enchant listeners. A Pantheon hardcover. (Sept.)

Publishers Weekly

This startling lark from Smith (The Accidental) is so much more than the sum of its parts. Both breezy and devastating, the novel radiates from a whimsical center: Miles Garth, a dinner party guest, decides to leave the world behind and lock himself in his hostess's spare room, refusing to come out and communicating only by note. Four charmers with only tenuous links to Miles, nicknamed Milo by the growing crowd camped outside the suburban Greenwich, London house, narrate the proceedings: Anna, a girl who knew Miles briefly in the past; Mark, a melancholy gay man who Miles met watching Shakespeare at the Old Vic; May Young, an elderly woman who Miles helped grieve her daughter's death; and the wonderful, "preternaturally articulate" Brooke, arguably the cleverest 10-year-old in contemporary literature. Together they create a portrait not so much of Miles—because none of them really knows him—but of the zeitgeist of their society. In a lovely departure, and in spite of the fact that there is not one ordinary, carefree character in this whole tale, all parents are literate, loving, and tolerant: though Mark is exhausted and sad, his famous mum speaks to him, in verse no less, from beyond the grave; though May is trapped by dementia, she was a kind mother to her ill-fated daughter; and though Brooke is clearly plagued by attention deficit disorder and is misunderstood and disliked at school, her parents love her dearly. This fine, unusual novel is sweet and melancholy, indulgent of language and of the fragile oddballs who so relish in it. (Sept.)

From the Publisher

Shortlisted for the James Tait Black Prize

A Best Book of the Year
The Washington Post
The Boston Globe

“A witty, provocative urban fable. . . . If you enjoy surprising, often comic insights into contemporary life, [Smith is] someone to relish.” —The New York Times Book Review

“A beguiling ode to human connection shot through with existential wonder and virtuosic wordplay. If you fell for Jennifer Egan’s A Visit From the Goon Squad, you’ll appreciate Smith’s formal twists and turns—and there’s more where There came from.” —Time Magazine

“Brilliant. . . . Both funny and moving—it succeeds because of Smith’s extraordinary skill with ordinary language.” —A.S. Byatt, The Guardian (UK)
 
“Weird and wonderful. . . . Beautifully elusive. . . . It is really about small stuff like life and death and the meaning of human existence, all told with sharp humor and real insight.” —Entertainment Weekly

“A marvel. . . . Exceedingly clever. . . . [It] packs a wallop in part because it engages us to read more actively.” —The Washington Post
 
“Quirky, intricately put together. . . . A book about loss and retention: about what we forget and what we remember, about the people who pass through our lives and what bits of them cling to our consciousness.” —Charles McGrath, The New York Times
 
“Ambitious, rambunctious, and poetic. . . . Contains all the real, solid stuff of a novel. It satisfies, it enlightens, and there’s a surge of wonderment and poignancy beneath the narrative that continually springs up.” —The Philadelphia Inquirer
 
“By turns whimsical and subtly wrenching. . . . With her penchant for wordplay on full display, the author of The Accidental switches between the perspectives of four people whose lives have been peripherally touched by her gentle shut-in, a man who, like J.D. Salinger’s Seymour Glass, has perhaps too much heart to survive comfortably in a hard world.” —NPR, Five 2011 Books that Stick With You
 
“Sophisticated, playful…exhilarating. . . . Smith blasts a window open in our heads.” —The Plain Dealer
 
“A story quite literally crying out to be heard. . . . It is with this word play, repetition, rhyme, and rhythm that Smith proves herself one of the ‘cleverist’—a British author at the top of her game who combines eccentricity and originality in equal measure. . . . Here we have a novel, and a novelist, delighting in the joy of language itself.” —The Daily Beast
 
“A virtuoso piece of writing, both funny and gripping. . . . Smith is a writer with a rich array of conventional strengths. . . . Her prose responds to the world with loving attentiveness.” –The Times Literary Supplement (London)
 
“Exhilarating.” —Marie Claire
 
“A marvel of a novel, sweeping in purpose (what is the meaning of life, of history, of our presence or our absence) and magnetic in both the presentation of its cast and characters and the unfolding of its deceptively simple plot. . . . The writing in There but for the is lovely, the imagery sharp and moving, and the flow unstoppable.” —The Huffington Post
 
“There is a bewitching romanticism to Smith’s world, where people truly connect and leave tender imprints on each other.” —The Independent (London)
 
“There but for the will remind you what a joyful activity reading truly is. Nobody writes with more panache. You learn so much from an Ali Smith novel, you laugh so hard and are filled with such intellectual and spiritual nourishment, and all you want to do when you’re finished is go read another one.” —Sigrid Nunez
 
 
“In There but for the Ali Smith displays her usual fizz and artistry.  She always surprises, she never disappoints.” —Kate Atkinson, author of Started Early, Took My Dog
 
“A playful yet erudite celebration of words. . . . Smith’s prose is not just supple, it’s acrobatic: one minute providing crisp realism—cocky teenagers, unspoken homophobia, university bureaucracy—the next a hypnotic stream-of-consciousness. Smith can make anything happen, which is why she is one of our most exciting writers today. . . . [Her] dizzying wordplay makes the real and surreal equally stimulating.” —Lucy Beresford, The Daily Telegraph (London)

Literate Housewife

So much more than the sum of its parts. . . . This fine, unusual novel is sweet and melancholy, indulgent of language and of the fragile oddballs who so relish in it.”
—Publishers Weekly [HC starred review]

Library Journal

Like several recent novels, notably Jennifer Egan's A Visit from the Goon Squad, Elizabeth Strout's Olive Kitteridge, and Tom Rachman's The Imperfectionists, this work is a collection of interlocking stories organized around a single theme and featuring multiple characters. Here the tales swirl around an unusual event at an upscale dinner party in Greenwich, England, where guest Miles Garth disappears into an upstairs bedroom at the home of his hosts and refuses to come out for weeks. Smith, whose eight previous works of fiction include the Whitbread Award-winning The Accidental, deftly satirizes our media-saturated environment, using an oddball cast of characters to point out the difficulty we have in making genuine human connections and demonstrating how beautiful and rare it is when we actually succeed. The passage of time is a constant underlying preoccupation as well, as befits the setting—home of the Royal Observatory, which established Greenwich Mean Time. VERDICT Though some of the plot points strain credulity, when read as a fable, this is a delightful, beautifully written, touching novel that will strongly appeal to lovers of language and wordplay. [See Prepub Alert, 3/21/11.]—Lauren Gilbert, Cold Spring Harbor Lib. & Environmental Ctr., NY

Product Details

BN ID:	2940171648091
Publisher:	HighBridge Company
Publication date:	09/21/2011
Edition description:	Unabridged

Read an Excerpt

There 
 
was once a man who, one night between the main course and the sweet at a dinner party, went upstairs and locked himself in one of the bedrooms of the house of the people who were giving the dinner party. 
       There was once a woman who had met this man thirty years before, had known him slightly for roughly two weeks in the middle of a summer when they were both seventeen, and hadn’t seen him since, though they’d occasionally, for a few years after, exchanged Christmas cards, that kind of thing. 
       Right now the woman, whose name was Anna, was standing outside the locked bedroom door behind which the man, whose name was Miles, theoretically was.  She had her arm raised and her hand ready to – to what?  Tap? Knock discreetly?  This beautiful, perfectly done-out, perfectly dulled house would not stand for noise; every creak was an affront to it, and the woman who owned it, emanating disapproval, was just two feet behind her.  But it was her fist she was standing there holding up, like a 1980s cliché of a revolutionary, ready to, well, nothing quiet.  Batter.  Beat.  Pound.  Rain blows.  
       Strange phrase, to rain blows.  Somewhere over the rainblow.  She didn’t remember much about him, but they’d never have been friends in the first place if he wasn’t the sort to enjoy a bad pun.  Was he, unlike Anna right now, the kind of person who’d know what to say to a shut door if he were standing outside one trying to get someone on the other side to open it?  The kind who could turn to that child stretched on her front as far up the staircase as her whole small self would go, the toes of her bare feet on the wood of the downstairs hall floor and her chin in her hands on the fifth step lying there watching, and straight off be making the right kind of joke, what do you call two mushrooms on holiday?  Fun guys, straight off be holding forth about things like where a phrase like to rain blows came from in the first place?  
       The woman standing behind Anna sighed.  She somehow made a sigh sound cavernous.  After it the silence was even louder.  Anna cleared her throat.  
       Miles, she said to the wood of the door.  Are you there? 
       But the bleat of her voice left her somehow less there herself.  Ah, now, see – that’s what it took, the good inappropriateness of that child.  Half boy, all girl, she’d elbowed herself up off the staircase, run up the stairs and was about to hammer on the door.  
       Bang bang bang.  
       Anna felt each thud go through her as if the child were hammering her on the chest.
       Come out come out wherever you are, the child yelled.  
       Nothing happened.
       Open sesame, the child yelled.
       She had ducked under Anna’s arm to knock.  She looked up at her from under her arm. 
       It makes the rock in the side of the mountain open, the child said.  They say it in the story, therefore the rock just like opens. 
       The child put her mouth to the door and spoke again, this time without shouting.
       Knock knock, she said.  Who’s there?
 
Who’s there?  
       There were several reasons at that particular time in Anna Hardie’s life for her wondering what it meant, herself, to be there. 
       One was her job, which she had just given up, in what she and her colleagues laughingly called Senior Liaison, at what she and her colleagues only half-laughingly called the Centre for Temporary Permanence (or, interchangeably, the Centre for Permanent Temporariness).
       Another was that Anna had woken up a couple of weeks ago in the middle of her forties in the middle of the night, from a dream in which she saw her own heart behind its ribcage.  It was having great trouble beating because it was heavily crusted over with a caul made of what looked like the stuff we clean out of the corners of our eyes in the mornings when we wake up.  She woke up, sat up and put her hand on her heart.  Then she got up, went to the bathroom mirror and looked.  There she was.  
       The phrase reminded her of something Denny at the Evening News, with whom she’d worked on neighbourhood liaison pieces and with whom she’d had a short liaison herself, had told her some time ago, on their second and last lunchtime.  He was a sweet man, Denny.  He’d stood in front of her in her kitchen, their first time, and presented his penis to her very sweetly, rueful and hopeful both, a little apologetic about his erection and at the same time proud of it; she liked this. She liked him.  But two lunchtimes was all it was, and they both knew it.  Denny had a wife, her name was Sheila, and their two girls and their boy were at Clemont High.  Anna made a pot of tea, put sugar and milk on the tray because she wasn’t sure what he took, carried it upstairs, slid back into the bed.  It was a quarter past one.  They had just under half an hour left.  He’d asked could he smoke.  She’d said, okay, since it’s the last lunch.  He’d smiled.  Then he’d turned over in the bed, lit the cigarette, changed the subject.  He’d said did she know he could sum up the last six decades of journalism in six words?  
       Go on then, she said.
       I was there.  There I was, he said. 
       It was a commonplace, he said.  By the middle of the twentieth century every important report put it like this: I was there.  Nowadays: There I was.
       Soon it would be seven words, Anna said.  The new century had already added a seventh word.  There I was, guys.  She and Denny had laughed, drunk their tea, put their clothes back on and gone back to their different jobs.  The last time they’d spoken was some months ago, about how to handle the story with the local kids giving urine to the asylum kids in lemonade bottles to drink.  
       In the middle of the night, some months later, holding her own heart, feeling nothing, Anna had looked at herself in the mirror in the bathroom.  There she was.  It was the there-she-was guise.  
       There she was again, then, two evenings ago, sitting in front of her laptop one summer evening with the noise of Wimbledon coming from neighbours’ TVs through the open windows of the houses all around.  Wimbledon was on her own TV too.  Her own TV’s sound was turned down.  It was sunny in London and the Wimbledon grass was still bright green, only a little scuffed.  The TV screen flickered away by itself beyond the laptop screen.  Pock noises and oohs and ahs, strangely disconnected from their source, accompanied the little noises she was making on her keyboard.  It was as if the whole outside world was TV soundtrack. Maybe there was a new psychosis, Tennis Players’ Psychosis (TPP), where you went through life believing that an audience was always watching you, profoundly moved by your every move, reacting round your every reaction, your every momentous moment, with joy /excitement / disappointment / Schadenfreude.  Presumably all professional tennis players had something like it, and maybe so to some extent did everybody who still believed in God.  But would this mean that people who didn’t have it were somehow less there in the world, or at least differently there, because they felt themselves less observed?  We might as well pray to the god of tennis players, she thought.  We might as well ask that god as ask any other for world peace, to keep us safe, to bring all the birds that’ve ever died, ever sunk into dust via little mounds of feather and crumbling hollow little bones, back to life, perch them all on that sill right now, the small ones at the front and the large ones at the back, and have them sing a rousing chorus of Bye Bye Blackbird, which was a song her father used to whistle when she was a little girl, and one she hadn’t heard for many years.  No one here to love or understand me.  Oh what hard-luck stories they all hand me. Was that it?  Something about hard-luck stories, anyway.  Just as she was about to look the lyrics up on the net new mail came pinging into her inbox with an electronic little trill.  
       The new mail was quite a long email which Anna nearly mistook for the please-transfer-money-to-this-account-because–I-am-dying-and-need-your-help kind. But she paused her finger above delete when something about it caught her eye.  It was addressed to her with the correct first name but the wrong surname initial. Dear Anna K.  It was both her and not her, the name.  More: something about it made her feel super-eighted, instamaticked.  It gave her a feeling something like the word summer used to.  Most of all it reminded her of an old spinebent copy of a Penguin classic paperback by Kafka, yes, Franz Kafka, which she had read one summer when she was sixteen or seventeen.

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