The concept of the ultimate reading list is enjoying a peculiar popularity of late: the BBC's Big Read, Melvyn Bragg's Twelve Books that Changed the World, and now Smiley's selection of 100 novels, which she read in order to break a writer's block afflicting her post-9/11.
Her list is largely classics-based, with a nice selection of contemporary writers, and her analysis is well-argued and informed. However, we could all produce a list of favourite books, but I doubt Faber would be queuing up for the rights, so what justifies Smiley's publication of such a subjective process?
Preceding the list we find a substantial analysis of the history and form of the novel, and a short case-study of the creation and publication of Good Faith, a novel of her own.
A teacher of creative writing, Smiley communicates real enthusiasm for the processes of writing, and is at her best when offering concrete, practical advice. Sadly, her theoretical skills are not so highly developed, and the nine chapters which constitute a detailed analysis of the novel as a literary form are full of sweeping generalisations which are too clearly prompted by her own reading preferences Conrad comes off badly, as do Thackeray and Joyce.
Subtitled What to Read and How to Write, this is a book which will no doubt be snapped up by members of book clubs and writing groups. Their time might be better spent reading one of their own personal 100.
13 WAYS OF LOOKING AT THE NOVEL Jane Smiley (Faber, £16.99)
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