How To Be Both

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Is 'How to Be Both' worth reading?

5 Answers2026-03-10 09:47:38
Ali Smith's 'How to Be Both' is one of those rare books that lingers in your mind long after you've turned the last page. The novel’s experimental structure—split into two halves that can be read in either order—creates a uniquely immersive experience. I loved how it plays with perspective, weaving together the lives of a Renaissance painter and a modern-day teenager in ways that feel both surprising and deeply connected. The prose is lyrical but never pretentious, and Smith’s ability to capture the fluidity of time and identity is downright magical.

What really stuck with me, though, was how the book explores grief and art without ever feeling heavy-handed. The characters’ voices are so distinct, and their stories resonate on a visceral level. If you’re into books that challenge conventional storytelling while still delivering emotional depth, this is absolutely worth your time. It’s the kind of novel that rewards rereading, too—I noticed new layers and connections the second time around.

Who are the main characters in 'How to Be Both'?

5 Answers2026-03-10 14:06:45
The novel 'How to Be Both' by Ali Smith is this mesmerizing, two-part labyrinth where the main characters feel like they're breathing right off the page. First, there's George (short for Georgia), a contemporary British teenager grieving her mother’s death. Her sections are raw—full of YouTube binges, art obsession, and this aching loneliness that sticks with you. Then, there’s Francesco del Cossa, a Renaissance painter in 15th-century Italy (though some argue they might be a woman in disguise). Their storyline is lush with color, rebellion, and the grind of creating art under patronage. The magic is how these two lives echo across centuries, tied by themes of gender, loss, and the act of seeing deeply. George’s modern angst and Francesco’s historical struggles make the book feel like a conversation across time.

What’s wild is how Ali Smith plays with structure—some editions put Francesco’s part first, others George’s, so your reading experience shifts. Francesco’s voice is witty and irreverent ('I’m dead but not gone'), while George’s grief is so visceral, you’ll find yourself staring at walls after her chapters. And the way their stories overlap isn’t just clever; it makes you question how stories are built, who gets remembered, and how art outlives us. Honestly, I finished it and immediately flipped back to page one.

What are books similar to 'How to Be Both'?

5 Answers2026-03-10 12:49:30
If you loved 'How to Be Both' for its experimental structure and dual narratives, you might enjoy 'Cloud Atlas' by David Mitchell. It's a masterpiece of interwoven stories spanning centuries, each with its own distinct voice and style, much like Ali Smith's work. 'Cloud Atlas' challenges linear storytelling, making you piece together connections across time—just as 'How to Be Both' does with its mirrored narratives.

Another great pick is 'The Blind Assassin' by Margaret Atwood. It layers a novel within a novel, blending genres and timelines in a way that feels both mysterious and deeply personal. Atwood’s knack for unreliable narration and rich historical detail reminds me of Smith’s playful yet profound approach. For something more contemporary, 'Lincoln in the Bardo' by George Saunders offers a surreal, multi-perspective exploration of grief and existence, with a stylistic boldness that fans of experimental fiction will appreciate.

What is the ending of 'How to Be Both' explained?

5 Answers2026-03-10 10:39:11
The ending of 'How to Be Both' is this beautiful, layered thing that lingers long after you close the book. It loops back to the dual narratives—one following a Renaissance-era painter disguised as a boy, the other a modern-day teenager grieving her mother. The painter’s story bleeds into the teen’s reality in this surreal, almost ghostly way, suggesting connections across time. Ali Smith doesn’t spoon-feed you; she leaves gaps for you to fill, like how the teen starts seeing frescoes everywhere, hinting at the painter’s presence. It’s less about resolution and more about the fluidity of art, identity, and memory. I love how it makes you question which narrative is 'real' or if they’re both fragments of something larger. The last pages feel like waking from a dream where you’re still clutching threads of the story, trying to weave them together.

What stuck with me is how Smith plays with structure—the book has two versions, with the stories in different orders depending on your copy. It’s meta, but in a way that feels organic, like the themes of duality and perception are baked into the physical object. The ending doesn’t tie neat bows; it’s messy and alive, much like grief or creativity. I finished it and immediately flipped back to reread sections, noticing new echoes between the timelines. It’s the kind of book that rewards obsession.

What happens in 'How to Be Both' spoilers?

5 Answers2026-03-10 09:16:15
Ali Smith's 'How to Be Both' is this wild, beautiful puzzle of a novel that plays with time, art, and identity in ways I’ve never seen before. The book is split into two parts—one follows a Renaissance painter named Francesco del Cossa, and the other centers on a modern-day teenager named George who’s grieving her mother’s death. The twist? Some editions put Francesco’s story first, others George’s, so your reading experience totally depends on which copy you grab. Francesco’s sections are surreal; they’re a ghostly reflection on art and gender (Francesco might’ve been a woman disguised as a man, which adds layers to the themes). George’s half is raw and contemporary, full of YouTube videos and her obsession with Francesco’s frescoes. The way Smith ties their stories together through longing and creativity left me staring at the wall for hours after finishing.

And that ending! Without spoiling too much, the boundaries between the two narratives blur in this haunting, poetic way. It’s like Smith is whispering, 'See? The past and present aren’t so separate after all.' I still think about the scene where George’s mom talks about art 'seeing' us back—it reframed how I look at everything now.

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