1.) p. 187 "These were genuine questions for people born in real cities..." What exactly is considered to be a real city? Does being from a real city make a difference in whether one approves of a flexibility in voice or not?
2.) All in all, does Zadie Smith feel that a flexible voice is a good thing or bad?
3.) p. 187 "... unless we are suggesting that one side of a person's genetics and cultural heritage cancels out or trumps the other." Does Smith believe this to be true? Does coming from a mixed cultural and ethnic background automatically make someone flexible in their voice?"
4.) By quoting Eliza Doolittle on p. 180 "What's to become of me? What's to become of me?", is Zadie Smith suggesting that with flexibility in voice comes the loss of sense of self?
5.) p. 181 "Professor Higgins has made his Eliza and awkward, in-between thing, neither flower girl nor lady, with one voice lost and another gained, at the steep price of everything she was and everything she knows." Is Smith implying that flexibility of voice can lead to forgetting where you came from and what you grew up in?
6.) p. 189 "Our Shakespeare sees always both sides of a thing, he is black and white, male and female - he is Everyman." So is Shakespeare's true voice a combination of many types or is it just that his true single voice can be morphed into many others?
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