t the beginning of Zadie Smith’s novel, Eliza Touchet, who is a housekeeper, distant relative through marriage and occasional paramour of the Victorian writer William Ainsworth, ponders the frequent dissimilarity between fictional characters and events and their real-life origins.

Smith’s latest release, The Fraud, is about individuals primarily focusing on a fraudster in 1860s England who lays claim to the identity of Sir Roger Tichborne, the presumed heir to a significant title and fortune, thought to have perished at sea. During his legal pursuit to seize the Tichborne estate, it becomes evident that he is a fraud. He lacks any of the hallmarks of an aristocrat and his history suggests that he is an English butcher who had fled to Australia to evade debts.

Strangely, the Claimant garners an enthusiastic following of supporters who steadfastly believe in his authenticity. They are willing to go to great lengths to establish that he, and no one else, is indeed Sir Roger. According to these ardent supporters, the Claimant is only being denied his rightful claim due to a conspiracy including the gentry, the press and the “papists.” What follows is a whole near-true trial of errors.

The Fraud presents an extensive and sharp portrayal of both London and the English countryside, skillfully capturing societal conflicts through a select group of characters. Smith’s readers will quickly recognise her distinctive style in the opening pages: the lively narrative flair; her keen ear for dialogue; and the consistent avoidance of dull sentences. I venture to say that this might just be her most humorous novel to date. It borders on satire and has some memorable lines, often poking fun at Ainsworth, such as “Even as an adolescent, William fatally overestimated the literary significance of weather.” Or the quip about his self-indulgent writing process: “He always appeared entirely satisfied with every line.”

One can easily point out evidence of thoughtless Trumpism and it’s quite clear why Smith was intrigued by this trial. It had become a celebrated cause in England during its time and served as a seemingly endless source of populist eccentricity. Smith describes the diverse assembly of the Claimant’s supporters at a fundraising event: “clerks and schoolteachers, individuals of various dissenting beliefs, shopkeepers, foremen, ladies’ maids, cooks and governesses.” The Claimant was portrayed as a “man without a core;” someone who adapted like the wind; a pleasant, beer-loving figure who presented himself as an aristocrat of the common people. Smith’s choice in steering clear of a direct Trump portrayal offers an intriguing avenue to address him and his ideas.

In this novel, she actively delves into London’s historical roots, seeking to comprehend the origins of individuals like herself, who have both European and Jamaican heritage and have found their place in this city.

In the realm of novel, an author’s intellect takes unique and distinct paths. What distinguishes The Fraud as a Smith creation from, for instance, a verbatim record of the trial, is that the primary focus is not on the jury or the accused.

From the reader’s point of view, the book’s organisation lacks consistency. It would have been more convenient, for instance, if the chapters more clearly indicated their temporal shifts, eliminating the uncertainty about whether one is immersed in the 1830s or the 1870s with Eliza. Nonetheless, these imperfections become inconsequential when we delve deep into the trial. The narrative transforms into a portrayal of individuals grappling with unfulfilled aspirations, resembling Ainsworth, who unwittingly descend into deception themselves.

Smith has consistently directed her focus towards the intricate tapestry of London, particularly Willesden, her childhood home. In this novel, she actively delves into London’s historical roots, seeking to comprehend the origins of individuals like herself, who have both European and Jamaican heritage and have found their place in the city. She examines the influences that have brought people of Black descent to these shores. Through her unique perspective, she also presents a more ethnically diverse London than portrayals in most other novels about the era. The London she describes is characterised by the presence of Lascar Indians, Africans, Chinese, Turks, “Black maids-of-all-work and Black cooks and housekeepers,” as well as “Carib boys dressed in livery at the grand entrances of opulent houses, resembling princes from Arabia.”

The Fraud

Author: Zadie Smith

Publisher: Penguin Press

Pages: 464, Hardcover

The reviewer is the head of content at a communications agency. sara.amj@hotmail.co.uk