Department of English

Faculty of Arts, Chulalongkorn University

 

Girl Meets Boy

(2007)

 

Ali Smith

(August 24, 1962 – )

 

Notes


for Lucy Cuthbertson: drama teacher who directed several of Ali Smith's plays


for Sarah Wood: Ali Smith's partner



4  Blind Date: A British dating game show, aired Saturday nights at 7 p.m.
  • "Blind Date," Cilla
    BLIND DATE [LWT/ITV] Broadcast between 30 Nov 1985 & 31 May 2003 (18 Series/380 Shows)
    In June 1985, Cilla was invited by LWT to film a pilot of ‘Blind Date’—a new dating game show concept from America (a.k.a. ‘The Dating Game’). Although British television watchdogs were initially worried about the programme’s sexual connotations it was Cilla’s involvement which allayed their fears. Cilla recalls how LWT jokingly asked her to front the programme, saying “We want you to do it because we tried to think of the most sexless person on television”. The rest as they say is history as the show became a national institution for many millions of viewers, brightening up Saturday nights for a staggering 18 years. In 1997, BAFTA (British Academy of Film & Television Arts) presented Cilla with a prestigious award for her show which acknowledged its significant impact on British pop culture. In 2003, Cilla sensationally quit ‘Blind Date’ live on air following significant changes to the show’s format.
  • Sanya Burgess, "Dating Shows: The New Rules of the Game," Royal Television Society (22015)
    From the titan of TV matchmaking, Blind Date, to the more niche Take Me Out, the British public has fallen in love with a genre that mixes the suspense of "Will they, won't they?" with nervous singles blurting out naff chat-up lines.

    It's been 50 years since the first hit dating show was broadcast by ABC in the US. The Dating Game wrote the rule book for dating shows: corny questions, cheesy answers and a host who acts as a tongue-in-cheek Cupid. The programme revolved around three hopeful singles sitting behind a screen answering the coy questions of another lonely heart.

    It was the predecessor to Britain's iconic Blind Date (1985), hosted by national treasure Cilla Black on a bright, fuchsia set.

    At its height, in the 1980s, more than 18 million viewers tuned in to a show that was one of TV's heaviest hitters.
  • Aliyah Allen, "Blind Date to Make a Comeback after 13 Years," Royal Television Society (2017)
    Blind Date began in 1985 and was hosted by Cilla Black for 18 years on ITV.



19  If you can keep your head when all about you: An allusion to Rudyard Kipling's poem "If—"


If you can keep your head when all about you  
    Are losing theirs and blaming it on you,  
If you can trust yourself when all men doubt you,
    But make allowance for their doubting too;  
If you can wait and not be tired by waiting,
    Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
    And yet don’t look too good, nor talk too wise:

If you can dream—and not make dreams your master;  
    If you can think—and not make thoughts your aim;  
If you can meet with Triumph and Disaster
    And treat those two impostors just the same;  
If you can bear to hear the truth you’ve spoken
    Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
    And stoop and build ’em up with worn-out tools:

If you can make one heap of all your winnings
    And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
    And never breathe a word about your loss;
If you can force your heart and nerve and sinew
    To serve your turn long after they are gone,  
And so hold on when there is nothing in you
    Except the Will which says to them: ‘Hold on!’

If you can talk with crowds and keep your virtue,  
    Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,
    If all men count with you, but none too much;
If you can fill the unforgiving minute
    With sixty seconds’ worth of distance run,  
Yours is the Earth and everything that’s in it,  
    And—which is more—you’ll be a Man, my son!


 

120  Milton Keynes:

 

 

 


 

 

Comprehension Check

I

  • Has grandfather met Burning Lily?
  • What does "lo and behold" mean?
you
  • Imogen says she is "down to just over seven stone" (52). How much is a stone?
  • Is Paul gay? (63–64)
us
  • What does "double oh seven" refer to?
them
  • What condition is confirmed about Imogen when she thinks "(But it is the second time for months and months, I realise as the taxi pulls away from Pure Base Camp, that I haven't thrown up on purpose.)" (126)?
all together now
  • Who might this be: "A beautiful Greek couple came graciously up and shook our hands; they were newlyweds themselves, they said, and how had the run-up to the wedding been? was it as nervewracking as it'd been for them? They'd never thought they'd made it. But they had" (155–56)?
            


 

 

Study Questions

  • There is frequent asking and answering of questions in Ali Smith's Girl Meets Boy. What are the functions of these queries and responses? Consider, for example,

    • But which is Cilla Black, then, boy or girl? (4)
    • Because what if we all taste things differently? What if each bit of toast tastes completely different? (5)
    • So did I never tell you about the time they put me in jail for a week when I was a girl? our grandfather says
      What for? I say.
      For saying you were a girl when you weren't one, Midge says.
      What words? I say.
      NO VOTES NO GOLF, our grand father says. (6)
    • It was called the Mud March because—because why?
      Because of some mud, I say.
      Because of the mud we got all up the hems of our skirts, our grandfather says.
      Grandad, Midge says. Don't. (7)
    • And what do you think they threw at us for marching, what do you think they threw at us when we spoke in front of the great hordes of listening people?
      Eggs and oranges, I say. Mud.
      Tomatoes and fishheads, Midge says.
      And what did we throw at the Treasury, at the Home Office, at the Houses of Parliament? he says.
      Fishheads, I say. (8)
    • Question one. How will we bottle our Highland oil? (37)
    • WOT U UP 2?
      COMIN 2 PUB? (52)
    • No, I say. I mean, what's the correct word for it, I mean, for you? (76–77)
    • that god whose head is like a jackal. What's his name? Damn. I really like – he's got, like, these jackal years, and a long snout – a kind of dog-god – he guards the underworld – (92)
    • Did their hearts hurt? I said. Did they think they were underwater all the time? Did they feel scoured by light? Did they wander about not knowing what to do with themselves?
      Yes, Robin said. All of that. And more. (94)
    • What's the magic word? (20, 25, 146)
    • Which one was Iphis? I said.
      Neither, she said. And her husband said –
      What were their names? I said.
      I can't remember their names. Anyway, the husband came to the wife – (90)

  • What does good mean in this novel? How is it defined differently in various instances throughout the work?

  • Metaphors and similes

    • I felt like the Internet, full of every kind of information but one of it mattering more than any of it, and all of its little links like thin white roots on a broken plant dug out of the soil, lying drying on its side. (23)
    • It was as if a storm at sea happened, but only for a moment, and only on the inside of my head. (45)
    • Daniel Craig in Casino Royal, rising out of the water like that goddess on a shell (83)
    • Then her hand became a wing. Then everything about me became a wing, a single wing, and she was the other wing, we were a bird. (101)
    • I was a she was a he was a we were a girl and a girl and a boy and a boy, we were blades, were a knife that could cut through myth, were two knives thrown by a magician, were arrows fired by a god (103)
    • Marriage
      What does a marriage mean? What does being wedded to someone or something imply? Notice the marriage metaphors in Girl Meets Boy. How does marriage, the ostensibly happy ending to a romance story plot introduced by the suggestive title, actually appear in the novel? What does it symbolize or represent? How is this process of meeting, attraction, having sex, falling in love, encountering obstacles, overcoming them and ending up happily ever after together used in the story? What kinds of marriages occur? Who gets into bed with whom, literally and figuratively? What other related vocabulary is used and in what ways? Why is it poignant that Keith, for instance, uses this metaphor in proposing the new position as head of Pure DND for Imogen?: "Do I have to carry you over the threshold?" (121)

  • Names and naming

    • They all looked like they were maybe called Keith. (19)
    • Then, below, in a kind of graffiti signature, the strange word: IPHISOL. (31)
    • one of the shaveys said behind me (32)
    • He was called Brian. Thank you, gods. (33)
    • Iphis, which was a name both boys and girls could be called (87)

  • Transformation

    • Way back in the Celtic tribes, our grandmother says, women had the franchise. You always have to fight to get the thing you've lost. Even though you maybe don't know you ever had it in the first place. She turns back to the television. Christ. Six nil, she says. She shakes her head.
      I want the French eyes, I say. (16)
    • he was always changing the words to things (19)
    • she used to stand on the linoleum right there, where the new parquet was now (20)
    • Something about Midge had changed. Something fundamental. I tried to think what it was. It was right in front of my eyes and yet I couldn't quite see it. (20)
    • She'd tarmacked over the front garden where our grandmother used to have her roses and her pinks. Now Midge's bike was kept there. (21)
    • The second-hand bookshop used to be a church. (29)
    • I'm disengaged, I say. I'm no longer Pure. (144)
    • – planting a good slogan or two that'll appear mysteriously in the grass of it next spring. (145)
  • Extra-textual references
    • Amazing rage, how sweet the sound. (20)
    • I wondered if Midge would remember that song, about the bird in the barn and the snow coming. (24)
    • Like that poem I knew, about how you sit and read your way through a book (29)
    • (She was always playing that George Michael cd.) (51)
    • Now I'd become a walking fuse, like in that poem about the flower, and the force, and the green fuse the force drives through it (81)
    • Reader, I married him/her. (149)
  • Stories and storytelling
    • Why are several stories told multiple times in the novel? For instance, "she [Robin] told me the story of Iphis" (86) begins one version and "Though actually, the telling of it went much more like this:" (88) begins another.
    • How does the telling or retelling of the story affect its meaning? What other meanings besides "I’m imposing far too modern a reading on it" (91)?
    • How do ancient myths (like Ovid's story of Iphis and Ianthe in the Metamorphoses) compare to modern myths (like advertising by Matchmake.com or Pure)?

            

 

 

Review Sheet

Characters

Anthea Gunn – "Now I had a job too, thanks to Midge" (22); "Anthea Gunn, Pure Creative" (24); "I was twenty-one years old. My hair was light and my eyes were blue. I was Anthea Gunn, named after some girl from the past I'd never seen, a girl on a Saturday evening tv show who always gave things a twirl" (25); "You and that good-looking little sister [Anthea] of yours" (67); "And then you [Anthea] went straight outside and threw a stone at the kitchen window, do you remember that?" (17); "I should have told them to put it into your Pure psychology report. High suggestible. Blindly rebellious" (18); "It had rained every day here since I'd got back, all eight days" (19); "You could call it Affluent, I said" (40); "I'm dead, I thought" (41)

Imogen Gunn, Midge – "My name's not Midge, Midge says" (8); "Grandad, you're like insane, Midge says. Because if you work it out, even if you were a girl, that story would make you born right at the beginning of the century, and yeah, I mean, you're old and everything, but you're not that old" (16); "My name's Imogen, Midge says and gets down off his knee" (16); "who went and bought a motorbike for thousands of pounds because it's got the word REBEL painted on it?" (18); "She was far too thin" (39); "I am down to just over seven stone" (52); "Imogen. She had to do all that mother stuff when ours left" (98)

Robin Goodman – "It was a lad, dressed for a wedding" (42); "He had long dark hair winged with ringlets, like Johnny Depp in Pirates of the Caribbean, but cleaner. He was spray-painting, in beautiful red calligraphy, right under the Pure insignia, these words: DON'T BE STUPID. WATER IS A HUMAN RIGHT. SELLING IT IN ANY WAY IS MORALLY WRO" (43); "We watched the long-limbed boy sign off, with a series of arrogant and expert slants and curlicues, the final word at the bottom of his handiwork: IPHISOL" (44); "She was the most beautiful boy I had ever seen in my life" (45); "I was terrified, too, when I was twelve and wanted to marry another girl." (96)

Robert Gunn, Rob, grandfather, grandad – "grandfather worked in a circus before he met and married our grandmother" (3); "Always the eye for the lasses" (9); "Your grandfather likes to think that all the stories in the world are his to tell" (17); "He looked smooth, sweet-faced, almost girlish" (21); "LOST AT SEA   2003" (22)
Helen Gunn, grandmother – "so she can watch the football results" (5); "She looked strong, clear-boned, like a smiling young man from some Second World War film had climbed inside an older skin" (21)

Paul – "Fluidity, a nice shavey called out next to me [Anthea]" (38); "Well done, Paul. Run with it. The whole room turned and bristled with jealousy at Paul" (39)

Keith – "(Keith sounded American. I'd not yet met Keith. Keith was the boss of bosses.)" (34); "Keith, she'd [Becky on Reception] told me, flew over for these meetings specially. He flew in every Monday, then out again after every Tuesday Creative Lecture" (36)

Dominic, Dom – "Are you retarded? Greg Dyke. Remember? Dominic says" (68)

Norman, Norm – "Where've you been, you useless slag? Norman says" (62)

Father – "our father, out in the garden in the first days after she went, hanging out the washing" (99)

Mother – "Back in history The Generation Game was our mother's favourite programme, way before we were born, when she was as small as us. But our mother isn't here any more" (4); "Anthea Gunn, named after some girl from the past I'd never seen, a girl on a Saturday evening tv show who always gave things a twirl, who always wore pretty frocks, and whom my mother, when she herself was a little tiny girl, had longed with all her heart to be like when she finally grew up" (25–26); "(It's our mother's fault for splitting up with our father.)" (49); "Before she left, my mother gave me a compass" (85); "she had to be free of what people expected of her, otherwise she’d simply have died" (98–99)

Mary Isobel Gunn – "Your great-grandmother wrote her name with Xs. X X X. Mary Isobel Gunn" (7)

Brian – "Well done, Anthea, on finally getting in" (32); "He was called Brian. Thank you, gods" (33)

Becky – "You're late, Becky on Reception said as I went past. Careful. They're looking for you" (31)

 

Places 

Scotland – "Scottish rain's no myth, it's real all right" (19)

    Inverness – "I had a home here in Inverness, thanks to Midge" (22–23)

        riverbank – "I went down the side of the riverbank and sat in among the daffodils." (26)

        River Ness – "There was blossom on the surface of the Ness, close to the bank, lapping near my feet, a thin rime of floating petals that had blown off the trees under the cathedral behind me." (26); "The river itself was fast and black. It was comforting. It had been here way before any town with its shops" (27); "The river laughed." (28)

        Pure

            Boardroom two – "Boardroom two, he [Brian] said. Five minutes. Okay Anthea?"


England – "(It is really English down here in England.)" (109)

    Pure Base Camp – "(This is Base Camp? Milton Keynes?)" (120)


Crete – "I've been there! We went there! I said. We had a holiday there when we were kids." (88)

    Heraklion

        hospital – "We spend a lot of it at the hospital in Heraklion, actually, because our dad went to hire a motobike to impress this woman in a motorbike hire shop" (88)

  

Time 

2007 – "the year, the oh and the seven of two thousand and seven" (83)

    Monday

        morning – "I'd better not be late" (18); "I was going to be late for work. I was late already" (25)

        night – "He [Paul] won't come out on a Monday night because of University Challenge being on" (63); "It's Monday. There's work tomorrow" (65)

    2:30 a.m. – "It was half past two in the morning." (86)


2003 – "Five years ago they [Robert and Helen Gunn] went on holiday to Devon" (22); "ROBERT AND HELEN GUNN  BELOVED PARENTS AND GRANDPARENTS  LOST AT SEA 2003" (22)



1992 –

    Saturday – "It is Saturday evening; we always stay at their house on Saturdays" (3); "the Saturday toast, the Saturday television" (23)


"A long time ago" – "A long time ago on the island of Crete a woman was pregnant" (86)

 

 



 

Vocabulary


Plot

Freytag's Pyramid
linear, nonlinear, linearity
beginning, middle, end
inciting incident
chance, coincidence
plot, main plot, minor plot, subplot, underplot, double plot,
story
conflict, internal conflict, external conflict, clash of actions, clash of ideas, clash of desires, clash of wills, major, minor, emotional, physical

suspense (suspenseful)
mystery (mysterious, mysteriously, mysteriousness)
dilemma
surprise (surprising, surprised)
plot twist
ending


artistic unity (unified)
time sequence
exposition
in medias res
complication (complicate)
rising action
falling action
crisis
climax
anti-climax (anti-climactic)
conclusion (conclude, conclusive)
resolution (resolve, resolving)
denouement
flashback, retrospect
back-story
foreshadowing
causality
plot structure
initiating incident
epiphany
disclosure, discovery
movement, shape of movement
trajectory
change
focus


setting

Character; characterization

major characters
minor characters
protagonist
antagonist
stock or type characters
stereotypes
foil
self-revelation
personality
direct presentation of character
indirect presentation of character
show v. tell
consistency in character behavior
motivation
plausibility of character: is the character credible? convincing?
flat character
round character, multidimensional character
static character, unchanged
developing character, dynamic character, active character
direct methods of revealing character:


indirect characterization


diction; denotation, connotation
repetition
literal language
figurative language

wordplay

pun
metaphor
simile
overstatement
understatement
image
imagery

allusion
symbol, symbolic, symbolism

irony, ironic

theme

stories; storytelling

myth; mythmaking

transformation

identity


 

FAQ and Discussion


Q: What is the gender of the grandfather?


D1: He is a man. He is "grandfather," and married to Helen who is the children's "grandmother," and Imogen, young though she in the opening scene of the novel, repeatedly insists that he is not a girl: "For saying you were a girl when you weren't one" (6),"And I looked a bit like a boy. Yeah, Midge says, cause you were one" (13), and "Grandad, you're like insane, Midge says. Because if you work it out, even if you were a girl, that story would make you born right at the beginning of the century, and yeah, I mean, you're old and everything, but you're not that old" (16).


D2: Why is a young child a reliable detector of gender?


D3: Not any young child, but an observant granddaughter of the person in question.


D4: Why is it a jolt that he is introduced "when I was a girl" and "our grandfather"?


D3: It shouldn't be? It's not uncommon that people have physical characteristics of or are treated as a gender that they do not identify with, or are born into a biological body that does not align with their gender perception.


D1: It should be. The jolt is intended to expose readers' gender assumptions.


D2: Despite millennia long history of diverse gender presentation from ancient Greece with the story of Iphis and Ianthe, the jolt still works. Virginia Woolf’s Orlando, another (mythical?) literary figure, also gender-shifts.



Q: What is going on with tense use in this novel?


D1: This is related, isn’t it, to the grandfather telling stories as if he were in history, i.e. his helping Burning Lily escape (pp. 15–16)?



Q: Why does Midge have so many names?


D1: Midge is the family nickname that she dislikes.

D2: Imogen is her official name.

D3: Dominic calls her “Madge” at the pub (62). Three names so far. What does the name Midge suggest or connote, as opposed to Madge or Imogen?


D1: Four: Also at the pub, Norman calls her "useless slag" (62) which she immediately objects to: "Don't call me that, I say."


D4: It’s not only Imogen who goes by several names. Robin Goodman also goes by names that multiply by year: Iphis05, Iphis06, Iphis07.

D1: Yes, and there are more, especially those that she did not give herself. There’s the misunderstood Iphisol, and then there are names that people foist on her like LEZ, inscribed on her notebook by high school classmates Denise and Imogen, or, more precisely “I write the letters and she draws the arrow pointing at them” (73).

D2: Teachers naturally get called names, like the geography teacher Miss Horne is called “Horny Geog” (73).

D4: Let’s not forget the big to-do with “greg” (66), how that transformation of the proper name Greg Dyke of the former BBC general director into an adjective greggy (66), a general noun greg (67), and a verb gregging.

D5: That scene sees an explosion of Robin names: thespian (68), lickian, freakshow, dyke.


D1: Imogen later calls her in her frequent parentheses "the weirdo vandal" (59). Not to mention "a lass and a lack" (76) and a string of "so many words" that also apply to her little sister: "unfuckable, not properly developed, and not even worth making illegal.)" (70).


D3: Do we count unspoken names as names? Like when Imogen is unable to utter the word for her sister and Robin, for example, "(Oh my God and also my sister is a )" (74) and "(I am sitting in the same room as a )."


D4: So multiplicity of names as an evasion for a delicate or objectionable identity? In the case of lesbianism. But for Imogen, Midge, Madge, useless slag?


D5: In the case of Burning Lily, her many names are a protection, a deliberate obfuscation of identity: "She used lots of different names in court. Lilian. Ida. May" (12). Being hidden or invisible behind untrue names as an empowering tool?


D2: In the case of many other women of that generation, her legal signed name was a generic representation of a name: "Your great-grandmother wrote her name with Xs. X X X. Mary Isobel Gunn" (7). Each blank X stood for a different personal name. Is the X empty or full of possibilities? X as both undifferentiated and unique, as no one's name and everyone's name?


D3: How can something not your name be your name? This is a concept that Imogen struggles to grasp. "I need to know the proper word," she says (77). Brian is also called "Bri" (63) and Anthea is affectionately called "Anth" by Robin (90). Is it hard to understand that there can be many variations or names of the same thing and they can all be correct and right?


D1: Fixating on the proper, right or correct name can be a pitfall though, because the same word or name, in another's mouth, in another tone, or context, can be bad. Greg, which is a very proper name (pun intended), as we mentioned earlier, can become the very insulting greg. The desirable label Rebel when transferred from the motorcycle to Anthea's mouth insults Imogen in their conversation before work (18).


D2: Fixation is a good point. In this novel Ali Smith really goes out of her way to warn against being dogmatic. It becomes absurd to obsess about Anubis being a dog or a god, for example, when he's a dog-god.


D3: He's not a dog. He's a god.


D2: Exactly. Even if he has a head like a jackal. We describe him as a dog-god, not because he's half dog half god or because he's both dog and god, but because of his head.


D5: So passages like "We were all that, in the space of about ten minutes. Phew. A bird, a song, the insides of a mouth, a fox, an earth, all the elements, minerals, a water feature, a stone, a snake, a tree, some thistles, several flowers, arrows, both genders, a whole new gender, no gender at all and God knows how many other things including a couple of fighting stags" (104) are designed to unfix us from definite names and labels. Who gets to own a name? Pure? Copyright it and put any violators in jail? Now that it's incorporated, no one and nothing can ever be pure? If Anthea's name is a coming up of flowers, Imogen can't be the one who plants in the riverbank for a spring slogan to appear? If a woman gets to own tenderness, the blush, grace and delicacy, then no wonder a man who ever exhibits any of these qualities will be called effeminate.


D4: I don't like that she's being didactic, spelling it all out, trying to teach readers so obviously.


D1: Ha! Can being didactic also be good literature? Or does didacticism preclude serious literary merit?


D2: That's another name trick question? If the novel teaches you something, it can't be a good novel? One label precludes the other? So Iphis the boy-girl is impossible? Grandfather the girl-boy? Robin the him/her Goodman (149)? The message boy-girls (138)? A myth that's true history? A dream that's reality? A fiction that's true?


D3: It does look like names matter, for a lot of people, and for a lot of things as well, even though it shouldn't always be. In the case of Girl Meets Boy, I think Ali Smith is brilliantly creative about name playing us.


D5: Not in too condescending a way?


D1: Take it in the spirit of the interactive storytelling that is modeled by grandfather and his two nieces (3–17), and by Robin and Anthea (88–101). I think you should be able to talk back, voice your opinions and disagreement. It's actually welcome. And the storyteller won't be mad at you for thinking critically and voicing your ideas sincerely. What would society be like full of yes-people agreeing on everything? It would actually be full of problems because nobody would dare point them out, with no one to name Pure anything else with a good illegal act, with beautiful graffiti.


D2: Five: Keith calls Imogen "my little Scotty dog" at the Pure Base Camp (124).


D3: That's a terrible name! Yet she doesn't object to it the way she almost consistently when anyone calls her less than what she thinks she deserves, even "Midge." Surprising?


D5: Not at all, like the "Dear God" moment with Paul (133), there is something much greater than personal affront at stake. The issue there is sixty million girls killed globally because of objection to the fact that they were not boys. Graffiti that might offend city residents and officials pales in comparison. At Base Camp, the hijacking of water by Pure Corporation is wrong is so many ways and negatively affects so many billions of people across the planet that she immediately and unsurprisingly objects to it over a personal slight: "Keith, that's ridiculous [...] Those words you just used are all in the wrong places" (124). That's consistent.


D4: Yeah, "water's exact designation" (124), how water is being renamed, i.e. rebranded, is a hugely worse offense. It insults logic, ecology, dignity, law, life, and just about anything we can imagine.




Sample Student Responses to Ali Smith's Girl Meets Boy

Response 1:

 

 

       


 

Reference

 


Links
Interviews

 


Media
  • Ali Smith, "Costa Book Awards 2014," Costa Coffee (2015; 1:49 min.)

  • Ali Smith, "How Should Authors Approach the Task of Writing a Novel Today," Edinburgh World Writers' Conference (2012; 1 hr. 55:59 min)

 


Ali Smith
  • "Ali Smith," British Council (biography, critical perspective, bibliography)

 


 

 

Reference

Smith, Ali. Girl Meets Boy. 2007. Canongate, 2015.

 



Further Reading

Smith, Ali. The Accidental. Hamish Hamilton, 2005.


Smith, Ali. Autumn. Hamish Hamilton, 2016.


Smith, Ali. Free Love and Other Stories. Virago, 1995.


Smith, Ali. Spring. Penguin, 2019.


Smith, Ali. Summer. Penguin, 2020.


Smith, Ali. There but for The. Penguin, 2011.


Smith, Ali. Winter. Hamish Hamilton, 2017.





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Last updated August 4, 2022