Zadie Smith: Swing Time

Later, at home, I told my mother this news, and she, too, was surprised, and, I suspected, a little displeased, at this proof of Tracey’s mother’s exertion on her daughter’s behalf more than anything else. She kissed her teeth: “I really didn’t think she had it in her.”

It took Tracey moving to my classroom for me to understand what my classroom really was. I had thought it was a room full of children. In fact it was a social experiment. The dinner lady’s daughter shared a desk with the son of an art critic, a boy whose father was presently in prison shared a desk with the son of a policeman. The child of the postal officer shared a desk with the child of one of Michael Jackson’s backing dancers. One of Tracey’s first acts as my new desk mate was to articulate these subtle differences by way of a simple, compelling analogy: Cabbage Patch Kids versus Garbage Pail Kids. Each child was categorized as one or the other and she made it clear that any friendship I had formed before her arrival was now — in as far as it may have attempted to cross this divide — null and void, worthless, for the truth was it had never truly existed in the first place. There could be no real friendship between Cabbage Patch and Garbage Pail, not right now, not in England. She emptied our desk of my beloved Cabbage Patch Kid card collection and replaced them with her Garbage Pail Kid cards, which — like almost everything Tracey did in school — at once became the new craze. Even children who were, in Tracey’s eyes, Cabbage Patch types themselves began to collect the Garbage Pail Kids, even Lily Bingham collected them, and we all competed with each other to own the most repulsive cards: the Garbage Pail Kid with snot streaming down his face, or the one pictured on the toilet. Her other striking innovation was her refusal to sit down. She would only stand at her desk, bending forward to work. Our teacher — a kind and energetic man called Mr. Sherman — battled her for a week but Tracey’s will, like my mother’s, was made of iron, and in the end she was allowed to stand as she pleased. I don’t think Tracey had any special passion for standing up, it was a point of principle. The principle could have been anything, really, but the point was she would win it. It was clear that Mr. Sherman, having lost this argument, felt he must come down hard in some other area and one morning, as we were all excitedly swapping Garbage Pail Kids instead of listening to whatever he was saying, he suddenly went completely out of his mind, screaming like a lunatic, going from desk to desk seizing the cards, sometimes from inside the desk and sometimes from our hands, until he had a huge pile of them on his desk which he then shuffled into a tower laid on its side and brushed into a drawer, locking it ostentatiously with a little key. Tracey said nothing, but her piggy nose flared and I thought: oh dear, doesn’t Mr. Sherman realize she’ll never forgive him?

That same afternoon, after school, we walked home together. She wouldn’t talk to me, she was still in her fury, but when I tried to turn into my estate she grabbed my wrist and led me across the road to hers. All the way up in the lift we were silent. It seemed to me something momentous was about to happen. I could feel her rage like an aura around her, it almost vibrated. When we got to her front door I saw that the knocker — a brass lion of Judah with its mouth open, bought on the high road from one of the stalls that sold Africana — had been damaged and now hung by a single nail, and I wondered if her father had been round again. I followed Tracey to her room. Once the door was closed she turned on me, glaring, as if I myself were Mr. Sherman, asking me sharply what I wanted to do, now that we were here? I had no idea: never before had I been canvassed for ideas of what to do, she was the one with all the ideas, there had never been any planning by me before today.

“Well, what’s the point of coming round if you don’t fucking know?”

She flopped down on to her bed, picked up Pac-Man and started playing. I felt my face getting hot. I meekly suggested practicing our triple time-steps but this made Tracey groan.

“Don’t need to. I’m on to wings.”

“But I can’t do wings yet!”

“Look,” she said, without raising her eyes from her screen, “you can’t get silver without doing wings, forget about gold. So what’s your dad going to come and watch you fuck it all up for? No point, is there?”

I looked at my stupid feet, that couldn’t do wings. I sat down and began quietly to cry. This changed nothing and after a minute I found myself pitiful and stopped. I decided to busy myself organizing Barbie’s wardrobe. All her clothes had been stuffed into Ken’s open-top automobile. It was my plan to extract them, flatten them, hang them on their little hangers and place them back in the wardrobe, the kind of game I was never permitted to play at home due to its echoes of domestic oppression. Halfway through this painstaking procedure Tracey’s heart mysteriously softened toward me: she slipped from the bed and joined me cross-legged on the floor. Together we got that tiny white woman’s life in order.

We had a favorite video, it was labeled “Saturday Cartoons and Top Hat ” and moved weekly from my flat to Tracey’s and back, played so often that tracking now ate the frame, from above and below. Because of this we couldn’t risk forward-winding while playing — it made the tracking worse — so we forward-wound “blind,” guessing at duration by assessing the width of the black tape as it flew from one reel to another. Tracey was an expert forward-winder, she seemed to know in her body exactly when we’d gone past the irrelevant cartoons and when to press stop to reach, for example, the song “Cheek to Cheek. ” It strikes me now that if I want to watch this same clip — as I did a few minutes ago, just before writing this — it’s no effort at all, it’s the work of a moment, I type my request in the box and it’s there. Back then there was a craft to it. We were the first generation to have, in our own homes, the means to re- and forward-wind reality: even very small children could press their fingers against those clunky buttons and see what-has-been become what-is or what-will-be. When Tracey was about this process she was absolutely concentrated, she would not press play until she had Fred and Ginger exactly where she wanted them, on the balcony, among the bougainvillea and the Doric columns. At which point she began to read the dance, as I never could, she saw everything, the stray ostrich feathers hitting the floor, the weak muscles in Ginger’s back, the way Fred had to jerk her up from any supine position, spoiling the flow, ruining the line. She noticed the most important thing of all, which is the dance lesson within the performance. With Fred and Ginger you can always see the dance lesson. In a sense the dance lesson is the performance. He’s not looking at her with love, not even fake movie love. He’s looking at her as Miss Isabel looked at us: don’t forget x, please keep in mind y, arm up now, leg down, spin, dip, bow.

“Look at her,” Tracey said, smiling oddly, pressing a finger to Ginger’s face on the screen. “She looks fucking scared.”

It was during one of these viewings that I learned something new and important about Louie. On this occasion the flat was empty, and as it annoyed Tracey’s mother when we watched the same clip multiple times, that afternoon we indulged ourselves. The moment Fred came to a rest and leaned against the balustrade Tracey shuffled forward on all fours and pressed the button down again and off we went, back to what-once-was. We must have watched the same five-minute clip a dozen times. Until suddenly it was enough: Tracey got up and told me to follow. It was dark outside. I wondered when her mother would be home. We walked past the kitchen to the bathroom. It was exactly the same as my bathroom. Same cork floor, same avocado bathroom set. She got down on her knees and pushed the side panel of the bath: it fell in easily. Sitting in a Clarks shoebox just by the pipes was a small gun. Tracey picked up the box and showed it to me. She told me it was her father’s, that he had left it here, and when Michael came to Wembley at Christmas Louie would be his security man as well as one of his dancers, it had to be that way to confuse people, it was all top secret. You tell anyone, she told me, and you are dead. She put the panel back and went to the kitchen to start making her tea. I headed home. I remember feeling intensely envious of the glamour of Tracey’s family life compared to my own, its secretive and explosive nature, and I walked toward my own flat trying to think of some equivalent revelation I could offer to Tracey the next time I saw her, a terrible illness or a new baby, but there was nothing, nothing, nothing!