Here we present excerpts from 13 Ways of Looking at the Novel:

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The end of September is a great time to have a birthday if you want to be a writer. Jane Austen might be December 16 and Shakespeare April 23 and Charles Dickens February 9, but for a sheer run of greatness, I challenge anyone to match September 23 through September 30—F. Scott Fitzgerald, William Faulkner, T. S. Eliot, Marina Tsvetayeva, William Blake, and Miguel Cervantes. And, I used to add (to myself, of course), moi. There is also a gratifying musical backup—George Gershwin on the twenty-sixth, my very own birthday. I never hesitated to bring anyone who cared (or did not care) to know up to date on late September (Ray Charles, Dmitri Shostakovich) and early October (John Lennon) birthdays.

But in 2001, the year I turned fifty-two, whether or not the stuff was there astrologically, it did not seem to be there artistically. All those years of guarding my stuff—no drinking, no drugs, personal modesty and charm, good behavior on as many fronts as I could manage, a public life of agreeability and professionalism, and still when I sat down at the computer to write my novel, titled Good Faith, my heart sank. I was into the 250s and 260s, there were about 125 pages to go, and I felt like Dante's narrator at the beginning of The Divine Comedy. I had wandered into a dark wood. I didn't know the way out. I was afraid.

I tried hard not to be afraid in certain ways. Two weeks before my birthday, terrorists had bombed the World Trade Center in New York. Fear was everywhere—fear of anthrax, fear of nuclear terrorism, fear of flying, fear of the future. I felt that, too, more than I was willing to admit. I tried to remind myself of the illusory nature of the world and my conviction that death is a transition, not an end, to discipline my fears to a certain degree. And my lover and partner was diagnosed at about that time with heart disease and required several procedures. I feared that he might also undergo a sudden transition and I would be bereft of his physical presence, but I also believed that we were eternally joined and that there was no transition that would separate us. This is how we agreed to view his health crisis. Physical fears were all too familiar for me—I had been wrestling with them my whole life, but in the late 1990s, divorce, independence, horses, Jack, and a book called A Course in Miracles had relieved most of them.

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Excerpted from Thirteen Ways of Looking at the Novel by Jane Smiley Copyright © 2005 by Jane Smiley. Excerpted by permission of Knopf, a division of Random House LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Thirteen Ways of Looking at the Novel