Continuing on in her ambitious season-inspired chronicle of our times, Ali Smith opens “Winter” with the statement “God was dead: to begin with.” She continues on ringing the death bell for everything from modern day conveniences to systems of government to states of being. These pronouncements act like a wry commentary on the uncertainty many people now feel as citizens in a precarious world despite all the apparent advancements of civilization and culture. It’s also a clever play on the opening of Dickens’ “A Christmas Carol” and his declaration of Marley’s death as a precursor to the chilling introduction of his ghost. Just as Dickens was a fierce critic of social stratification, Ali Smith’s writing critiques the way in which society has become increasingly economically and politically divided. This new novel continues with some of the same themes as “Autumn”, but focuses on a Christmas reunion between a nature blogger named Arthur or “Art”, his mother Sophia who is a successful businesswoman and his estranged aunt Iris who is a political activist. Art also brings with him a stranger named Lux who adds an element of chaos and a uniquely different perspective.
The shadow of Brexit looms large in this story as does the alarming destructive force of that new president across the pond. References are scattered throughout to specific recent true events from a Tory MP literally barking at a female MP in the House of Commons to the Grenfell Tower tragedy to Trump telling boy scouts they’ll be able to say Merry Christmas (instead of Happy Holidays) again. She even makes a sly dig at the buffoonish conservative ex-mayor of London, Boris Johnson. These accounts from the news are all examples of political forces flaunting their power and brazenly asserting their arrogant dominance over women, the working class and non-Christians. Smith shows the way these instances filter into the consciousness of her characters influencing both their perspectives and the language of their dialogue. Sophia and Iris are polar opposites in their ideological points of view and frequently bicker. The character of Art is a common point between them and fascinatingly the two women even disagree over events concerning his youth. This isn’t only a novel about the present, but it frequently circles back to the past alighting upon connections and meaning and ideas which have been lost in the passage of time.
Smith’s writing is always imbued with a sense of humour. Her story begins like a Shakespeare-style comedy of concealed identity. Since Art is fighting with his girlfriend Charlotte and he promised his mother he’d bring her home for Christmas he hires Lux to pose as his girlfriend. This creates a series of absurd interactions and hilarious confusion. Sophia finds herself butting heads with institutions around her from banks to eye clinics with tragic-comic results. Individuals inevitably become alienated within regimental systems of dealing with people like Elisabeth's experience trying to submit a passport application in “Autumn.” As in all great comedy there is a tinge of sorrow and anger mixed in with the laughter. Out of a delightfully odd situation where Sophia is haunted by the ghost head of a child there arises a sober statement about ageing and a moving aspect about this character’s past interactions with the art of Barbara Hepworth.