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NM: Well, I got there a little too late, too old. I realized that to enjoy this I had to be able to drink on Saturday night the way I used to in the old days. I can���t do that anymore. CB: So much of your knowledge of the body comes from an interest in sports, especially the dynamic balance of a performing athlete. Your characters, both within themselves and with others, are moving through complicated turns, where they are at once off balance and in balance, yet the center of gravity is maintained in evolving alignments. NM: The turn for me came in the ���60s. In the first half of the ���60s I was doing my best to give up smoking, and my style changed, starting with An American Dream. I smoked two packs a day for years and was addicted for 20 years when I started to give it up at the age of 33, in 1956. It took me the next 10 years to give it up totally. It was very hard to write when I was giving up cigarettes. Smoking enables you to cerebrate at a high, almost feverish rate. Your brain is faster when you smoke cigarettes, which is why working intellectuals, particularly, do hate giving up their addiction. I discovered, yes, I had much more trouble finding the word I wanted, but the rhythms were now better. Before I had been writing more like a computer, if you will, imparting direct information, stating things. Gradually I learned a more roundabout way of discovering the meaning of a sentence, rather than knowing it before I started. Also I began to write in longhand, rather than with a typewriter. Writing became more of a physical act, with more flow to it, but with less cerebration in each sentence. I attribute the development of a second style to giving up smoking. CB: Out of necessity. It took you a full decade to get comfortable HYLAND 30