Childs, Peter. “Zadie Smith: Searching for the Inescapable.” In Contemporary Novelists: British Fiction Since 1970. New York: Palgrave Macmillan, 2005. Childs offers accessible analyses of twelve late twentieth century and early twenty-first century British novelists. Includes a chapter on Smith’s White Teeth.
Dawson, Ashley. Mongrel Nation: Diasporic Culture and the Making of Postcolonial Britain. Ann Arbor: University of Michigan Press, 2007. This study of the beginnings of a postcolonial and multiracial Great Britain includes the chapter “Genetics, Biotechnology, and the Future of ’Race’ in Zadie Smith’s White Teeth.”
Head, Dominic. “Zadie Smith’s White Teeth: Multiculturalism for the Millennium.” In Contemporary British Fiction, edited by Richard J. Lane, Rod Mengham, and Philip Tew. Malden, Mass.: Blackwell, 2003. Focuses on the multicultural aspects of White Teeth. Part of a collection surveying the reception and literary status of contemporary British fiction.
Nasta, Susheila, ed. Writing Across Worlds: Contemporary Writers Talk. New York: Routledge, 2004. In an interview conducted by Gretchen Holbrook Gerzina, Smith defends and critiques her own novel and confronts and debates the interviewer.
Rozzo, Mark. “Who’s English Now?” Los Angeles Times Book Review, May 7, 2000. In this brief review, the author discusses the themes of race, immigration, assimilation, and nationalism. He praises the young writer for her poetry and insight.
Squires, Claire. Zadie Smith’s “White Teeth.” New York: Continuum International, 2002. A reader’s guide to the history, plot, and reception of White Teeth. Includes a biography of Smith.
Walters, Tracey L., ed. Zadie Smith: Critical Essays. New York: Peter Lang, 2008. A comprehensive collection of essays solely devoted to Smith. Section 1 discusses postcolonial and postmodernist readings of Smith. Section 2 discusses racial identity and race mixing in Smith’s work.
Wood, James. “Human, All Too Human.” The New Republic, August 30, 2001. In this often-referenced review of White Teeth, Wood coins a new genre for the novel, “hysterical realism.” An intense critique of the work.