ABSTRACT This paper explores the third novel in Ali Smith’s seasonal quartet, Spring. Using Achille Mbembe’s Necropolitics as a conceptual frame, I analyze Smith’s rendering of a Britain grappling with Brexit in times of transnational populism. As with Autumn and Winter, Smith’s prose is saturated with intertextual borrowings from pop and “high” culture, also interrogating the links between “nanoracism” and the “immunity and community” knot (Dillet). This paper reads Spring alongside Smith’s contribution to and advocacy of the Refugee Tales project regarding the diverse discourses surrounding migration, xenophobia, and indefinite detention. Smith’s writing traces the darkness of our populist present with its rhetorical and material violence, as well as the possibilities for creative response and resistance. I argue that her seasonal quartet to date and her work with Refugee Tales aesthetically and ethically defend the principle that human dignity, both individual and collective, rests on the ability to tell stories.

中文翻译：

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“别告诉我，这不再以全新的相同方式重新出现”，在阿里·史密斯（Ali Smith）的《春天》中，想象力，激动和对机器的愤怒

摘要本文探讨了阿里·史密斯（Ali Smith）的季节性四重奏《春天》中的第三本小说。我以阿奇里·姆贝姆贝（Achille Mbembe）的“死灵政治学”作为概念框架，分析了史密斯关于跨国民粹主义时期英国与英国退欧作斗争的说法。与秋冬季节一样，史密斯的散文充斥着流行文化和“高级”文化的互文借用，也质疑“纳诺拉主义”与“免疫与社区”结（Dillet）之间的联系。本文与史密斯一起为《难民故事》项目所做的贡献和倡导一起读了《春天》，该项目涉及围绕移民，仇外心理和无限期拘留的各种论述。史密斯（Smith）的著作以其言辞和物质暴力以及创造性回应和抵抗的可能性追溯了我们民粹主义者在场的黑暗。