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"Then the voice from nowhere carried on talking about Munch, like my mother of all people knew about Munch, like she knew I was looking at a picture right now, like she knew about the power crisis and the international unrest and the climate ruination in a world she’d left thirty years ago. Like she knew it all." In Ali Smith’s So in the Spruce Forest, the author’s deceased mother returns as a persistent voice, intent on sharing with her daughter insights into Edvard Munch’s intense renderings of trees and stones charged with life. Through an imaginative essayistic format, Smith weaves together probing visual analyses, personal stories and reflections on ecology and politics, linking Munch’s art to both the present moment and other realities.
"Then the voice from nowhere carried on talking about Munch, like my mother of all people knew about Munch, like she knew I was looking at a picture right now, like she knew about the power crisis and the international unrest and the climate ruination in a world she’d left thirty years ago. Like she knew it all."
In Ali Smith’s So in the Spruce Forest, the author’s deceased mother returns as a persistent voice, intent on sharing with her daughter insights into Edvard Munch’s intense renderings of trees and stones charged with life. Through an imaginative essayistic format, Smith weaves together probing visual analyses, personal stories and reflections on ecology and politics, linking Munch’s art to both the present moment and other realities.