Geoff Dyer Quotes

I've never really liked L.A., because of its sprawl.

What I'm really interested in, as a reader and as a writer, is the idea of the nonfiction book that is not defined by its content, by its "about"-ness. Where you read it irrespective of whether you're interested in the subject.

I would hope that nothing that I write would ever seem earnest because I subscribe absolutely to Franz Nietzsche's claim when he says, "Ah, earnestness, the sure sign of a slow mind." Earnest people are always a bit on the thick side in my experience.

One of the reasons so many nonfiction books are so boring is because what they've done, very diligently, is fulfill the terms of their proposals. They've written up their proposal, long-form, and often what this does is then set up a sort of serial deal, where the whole book can essentially be reduced back to the size of the original proposal!

Life is bearable even when it's unbearable: that is what's so terrible, that is the unbearable thing about it.

People say it's not what happens in your life that matters, it's what you think happened. But this qualification, obviously, did not go far enough. It was quite possible that the central event of your life could be something that didn't happen, or something you thought didn't happen. Otherwise there'd be no need for fiction, there'd only be memoirs and histories.

All sorts of things can keep one awake. But as you get older - this is what the stroke thing really brought home to me - this thing that I never paid attention to: my brain. I've always been conscious that, of course, after a night of getting stoned, my head would feel foggy; if I got drunk the night before I'd be hungover. But that was the extent of my concern about my brain. And then with the stroke thing, it made me realize, "God! That's my main source of income." So it relates actually to your other question about growing old.

Have regrets. They are fuel. On the page they flare into desire.

To be interested in something is to be involved in what is essentially a stressful relationship with that thing, to suffer anxiety on its behalf.

Mike Pence came out and said this was a courtesy call, then Donald Trump a few hours later went on Twitter, as is his wont, and essentially linked the call to Taiwan with a whole series of things he doesn't like about Chinese economic and foreign policies and implied that the U.S. views of the status of Taiwan are now up for negotiation, that he wants them to be part of a broader negotiation with China about a whole series of economic and foreign policy issues. So, we just don't really know what exactly they're planing to do with this.

I think I do have a sort of terrible propensity for boredom and for being bored, even though I am absolutely of the opinion that one shouldn't be bored and that there is no excuse for it and that it is a personal failing.

Foreign governments are going to be poring through all these Donald Trump tweets looking for - to try and discern what it means for foreign policy.

The process of book writing for me is entirely one of trial and error.

I guess that as life is speeded up and our capacity for concentration is being nibbled away at by all the obvious things, that leads us actually to be more susceptible to boredom.

It's this thing that's going on all the time - aging. Paul Auster quotes the poet George Opren on growing old: "What a strange thing to happen to a little boy." Which I think is so profound.

Whatever people may say about my books - and it always amazes me when people don't like them, but sometimes they don't - the epigraphs have always been top-drawer. I think having that at the outset protects me from a lot of potential problems.

I like these nonfiction books where everything that is interesting about them is lost in that catch-all description of their "about"-ness.

I really like the George Clooney of Solaris also filmed by Andrei Tarkovsky, before Steven Soderbergh: that's very obviously sci-fi, and it seems to me a great film. But whatever pigeon-hole you put Stalker into you would both be increasing the risk of disappointing people and diminishing the film.

I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.

The only distinction I'd make is between film and telly, I guess. "Film," "movies," and "cinema" are all synonyms as far as I'm concerned; but telly is different. It's just a plodding we've-done-this-scene, we've-done-that-scene and it never becomes this new other thing.

Quite often, ambition operates on a level of irritation. Not even jealousy, just irritation.

I would agree on the aging thing. Because, at a certain point, once you start noticing it, it is your subject. And I know young that people, when they get to 30, say, "Oh, I'm so old." But actually, around 50, you do become conscious of it.

If the regular length of a shot is increased, one becomes bored, but if you keep on making it longer, a new quality emerges, a special intensity of attention.' At first there can be a friction between our expectations of time and Tarkovsky-time and this friction is increasing in the twenty-first century as we move further and further away from Tarkovsky-time towards moron-time in which nothing can last—and no one can concentrate on anything—for longer than about two seconds.

In the '80s, the world I was living in wasn't this world of consumption. There wasn't that much to buy, really. Actually I'm still struck by that. There's not an awful lot of stuff I want. Somebody quotes Diogenes, who's walking around saying, "How many things there are in the marketplace of which Diogenes has no need." I always feel that. Except of course when you're living in Venice, California and you see all these lovely houses!

I don't like my books being defined by their "about"-ness. So now the subtitle has just become a kind of strap-line on the cover.

In foreign countries, when people see what Donald Trump is saying on Twitter since the election and seeing what he's saying in these calls with foreign leaders, they take everything very seriously and they take everything very literally.

The ideal is to feel at home anywhere, everywhere.

Never ride a bike with the brakes on. If something is proving too difficult, give up and do something else. Try to live without resort to per­severance.

I always like to be in the presence of people who are good at and love their jobs, Irrespective of their jobs.

Have more than one idea on the go at any one time. If it's a choice between writing a book and doing nothing I will always choose the latter. It's only if I have an idea for two books that I choose one rather than the other. I ­always have to feel that I'm bunking off from something.

If Donald Trump thinks that just by being unpredictable that somehow he can have an impact, but not necessarily commit himself to certain things, that's not the way it is going to be read in foreign capitals. Foreign governments are going to take these things very literally and very directly.

Getting too much money too soon can be really bad. There's a balance to be kept - the right balance between new experience and a certain stability in one's life. I'm conscious of all these things in a way that, earlier on, I was only conscious of circumstantial stuff, like, money.

There's something about New York. You can get a nice feeling of belonging as a writer here. It's probably the best city on Earth like that. I miss the wisecracking of New York.

Each of my book arrives at a form and a style that is appropriate to the subject.

Nicholson Baker talks about the way in which the most successful nonfiction books are those that can be boiled down into an argument so that everybody can wade in with an opinion without having to undergo the inconvenience of having to read the book itself. The more you can condense it, the better.

For so long I didn't have any kind of readership at all - I'd get published, but not read - the idea of writing for an audience is so anathema to me, it's never bothered me.

I always hope to come up with a style of writing that's appropriate to the material and I felt like this was. And then there's plenty of - I don't know if it's the right word but - lampooning, but it's always at my expense.

I want to stress, this is the experience-growing up in a working-class family-that defined me and continues to define me. It's the core of my being. And it explains, incidentally, a good deal about my love of America.

Nine times out of 10, the most charming thing to say in any given situation will be the exact opposite of what one really feels.

I’m so revolted by writers taking themselves seriously that, as a kind of protest, I’ve deprioritized the role of writing in my life. I do it when I’ve not got anything better to do – and even then I often do nothing instead.

The thing that strikes me, from looking at the names so far in the Donald Trump's Cabinet on the foreign policy side, is the one thing that unites them - and that's General James Mattis at the Pentagon, Mike Pompeo at the CIA, even Mitt Romney to become secretary of state - they're all very, very hawkish on Iran.

All the best essays are epistemological journeys from ignorance or curiosity to knowledge.

These days any self-respecting exhibition of nude photos has to have pornographically explicit images to prove that they are works of art.

Like most writers I spend a lot of my time sort of thinking, "It's such agony, I can't do it."

I published so many books, which, for years, didn't get published here in America, at all - and which barely got any attention in England. So it wasn't going to take much to make me feel suddenly famous. So - yeah - after 20 years, I'm an overnight success.

The one thing that you can say about the new Cabinet Donald Trump is putting together. That seems to be one of the coherent themes. They're very, very skeptical about Iran.

When you are lonely, writing can keep you company. It is also a form of self-compensation, a way of making up for things—as opposed to making things up—that did not quite happen.

[William] Eggleston's photographs look like they were taken by a Martian who lost the ticket for his flight home and ended up working at a gun shop in a small town near Memphis. On the weekend he searches for the ticket - it must be somewhere - with a haphazard thoroughness that confounds established methods of investigation.