In this post, you will find great Geoff Dyer Quotes. You can learn and implement many lessons from these quotes.
Inevitably, most readers come to John Cheever’s ‘Journals‘ via his fiction. Whatever value they might have in their own right, their viability as a publishing proposition was conditional on the interest of the large readership of his novels and stories.
I have this long-running idea that the distinction between fiction and nonfiction is not just, ‘Did it happen or didn’t it happen?’ It’s one of form.
I think I can recognize when a piece is at a state of completion.
The business of taking a book and transforming into a script to make this thing called a film – it’s a mysterious process to me; sometimes it works.
One of the great privileges of my life was growing up in a house without books.
I feel that form determines how readers read a book and how they judge it.
Writing, for me, has always been a way of not having a career.
In terms of target audience, who cares what a middle-aged guy like me wants; most mainstream are not catering to me at all.
I do understand my limitations as a fiction writer, which is why my novels are always going to be close to home.
My reading of serious books about serious music is seriously compromised by the way that I can’t understand any musical theory. Any mentions of D major or C minor are meaningless to me.
We still go to nonfiction for content. And if it’s well-written, that’s a bonus. But we don’t often talk about the nonfiction work of art. That’s what I’m very interested in.
Contrary to popular belief, Oxford has the highest concentration of dull-witted, stupid, narrow-minded people anywhere in the British Isles.
In the 1930s, photographers such as Walker Evans and Dorothea Lange produced images of sharecroppers and Okies, which drew attention both to the conditions in which these unfortunates found themselves and to their heroic fortitude.
My evangelical phase about Burning Man is well and truly in the past.
People never read my books for the quality of the documentary value.
Making the ordinary potentially magical is what film should be all about.
Practically everyone I know now is from a middle- or upper-middle-class background, and I no longer have the huge chip on my shoulder that I carried around for so many years. I’m not sure it comes out much in the work, but coming from this kind of background is absolutely central to my identity, to my sense of who I am.
When I started writing, the deal was that publishers gave you a grand or two as an advance to buy some sweets, with the promise that they would make a big putsch with your fourth book when you’d built up a bit of a following. But by the time my fourth book came out, previously unpublished authors were the new big thing.
One of my great heroes, John Berger, he’s in his 80s now. One of the reasons that he’s remained young and all-around fantastic is his ongoing receptivity to new things. I think that’s important.
You read ‘Stalingrad’ by Antony Beevor because you’re interested in the Second World War or Russia or whatever.
I like things that are funny and have a lot else in them besides that – ideas, for example.
I think that if you are a resolute, unswerving atheist, you have that sense that you are conscious of the God-shaped hole that has been left in the wake of any religious belief, and in a way, one is much more drawn to articulate why it is that certain places, or certain experiences, have a kind of power.
Once you’ve got through immigration, one is always made to feel very welcome in America, once they’ve let you in. It’s a great place to be.