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.
