Bøker av Geoff Dyer

Could it be that our deepest desire is for it all to be over? A book about the end of days from the award-winning author of Out of Sheer Rage and Yoga for People Who Can't Be Bothered to Do It

A full-colour illuminated history of how photographs frame and change the world, from the award-winning author of The Ongoing Moment

Ever wondered where your deepest desires might lead?

'A copy ... ought to be on everybody's Desert Island' Independent

One of Esquire's best books of spring 2022An extended meditation on late style and last works from "one of our greatest living critics" (Kathryn Schulz, New York).How and when do artists and athletes know that their careers are coming to an end? What if the end comes early in a writer's life? How to keep going even as the ability to do so diminishes? In this ingeniously structured investigation, Geoff Dyer sets his own encounter with late middle age against the last days and last works of writers, painters, musicians, and sports stars who've mattered to him throughout his life. With playful charm and penetrating intelligence, he considers Friedrich Nietzsche's breakdown in Turin, Bob Dylan's reinventions of old songs, J.M.W. Turner's proto-abstract paintings of blazing light, Jean Rhys's late-life resurgence, and John Coltrane's final works.Ranging from Burning Man to Beethoven, from Eve Babitz to William Basinski, and from Annie Dillard to Giorgio de Chirico, Dyer's study of last things is also a book about how to go on living with art and beauty-and the sudden rejuvenation offered by books, films, and music discovered late in life. Praised by Kathryn Schulz as "one of our greatest living critics, not of the arts but of life itself," and by Tom Bissell as "perhaps the most bafflingly great writer at work in the English language today," Dyer has now blended criticism, memoir, and badinage of the most serious kind into something entirely new. The Last Days of Roger Federer is a summation of Dyer's passions and the perfect introduction to his sly and joyous work.

Geoff Dyer er en av de absolutt ledende engelskspråklige essayistene, og en hvis innflytelse griper langt inn i de skjønnlitterære rekker. Han er en av flere hvis skrivevirke er med på å viske ut skillene mellom romanen og essayet. Helt siden debuten i 1987 har Dyer gått fram og tilbake mellom sjangrene, eller man kunne også sagt: stått stille midt i mellom dem. Som essayist er Dyer vanskelig å kategorisere. Man kan godt si at han skriver kritikk-essays, av litteratur, fotografi, film og musikk. Og ikke minst skriver han reiseessays. Dyers nye bok på norsk består av to slike: kultklassikeren Yoga for folk som ikke gidder å drive med det (2003) og White Sands (2016).]]>

«Nordlyset gjorde seg ikke gjeldende den natten, altså natten vi kom. Jeg sier 'den natten', men vi befant oss i landet for den evige natt, den norske sjels mørke natt som kom til å vare minst en måned til.»Denne boksingelen, som altså har handling fra Norge og Svalbard, er hentet fra Geoff Dyers kommende bok på norsk, Vi er her for å dra et annet sted, en samling reiseessays.]]>

Geoff Dyer er en av de absolutt ledende engelskspråklige essayistene, og en hvis innflytelse griper langt inn i de skjønnlitterære rekker. Han er en av flere hvis skrivevirke er med på å viske ut skillene mellom romanen og essayet. Helt siden debuten med Ways of telling, om arbeidet til forfatter John Berger, har Dyer gått fram og tilbake mellom sjangrene, eller man kunne også sagt: stått stille midt i mellom dem.I et intervju med Paris Review fra et par år tilbake sier Dyer: «Fiction, nonfiction-the two are bleeding into each other all the time ... I don't think a reasonable assessment of what I've been up to in the last however many years is possible if one accepts segregation. That refusal is part of what the books are about. I think of all of them as, um, what's the word? Ah, yes, books. I haven't subjected it to scientific analysis, but if you look at the proportion of made-up stuff in the so-called novels versus the proportion of made-up stuff in the others, I would expect they're pretty much the same.»Dyer som essayist er vanskelig å kategorisere. Det vil si, man kan godt si at han skriver kritikk-essays, av litteratur, fotografi, film og musikk. Samt at han skriver reiseessays og epokeessays og hva har du. Men det vesentlige ved Dyer er at han ofte skriver alt dette på en gang. At han kan begynne med et gammelt fotografi sammen med gamle venner, til å diskutere fordelen ved å være arbeidsledig i sine formative år. Han henter litteraturhistorie inn i teksten som om de var kalde øl fra kjøleskapet: Rimbaud og Kerouac, for eksempel. Han bruker dagligdagse opplevelser, som regel forbehold skjønnlitterære tekster, som for eksempel at kor av ungdommer passerer vinduet hans mens de synger Dylans Rainy day Women (i essayet Something Didn't Happen), som et påskudd til å skrive om kjærester han har hatt og planer lagt, som alle gikk i vasken. Og lykken som etter hvert kom til ham nettopp fordi alt gikk i vasken. Man kunne sagt om Dyer det Neruda sa om seg selv, at han skriver urene essays (i den grad essayene er rene i utgangspunktet), i den forstand at han putter hva som helst i kjøkkenmaskinen og blander - lager smoothie av kjærlighetslivet, sexlivet, leselivet, skrivelivet, skolelivet, drikkelivet, vennelivet, reiselivet, ingrediensene til en gjennomgripende forståelse av livet (det kunstneriske livet, inkludert) ligger like mye i et fortauskor, som i Miles Davis Kind of blue, som i D.H. Lawrences Sons and lovers.

Geoff Dyer er en av de absolutt ledende engelskspråklige essayistene, og en hvis innflytelse griper langt inn i de skjønnlitterære rekker. Han er en av flere hvis skrivevirke er med på å viske ut skillene mellom romanen og essayet. Helt siden debuten med Ways of telling, om arbeidet til forfatter John Berger, har Dyer gått fram og tilbake mellom sjangrene, eller man kunne også sagt: stått stille midt i mellom dem.Denne boksingelen inneholder to av tekstene fra essaysamlingen Det jeg egentlig ville si (2016).

"May be the best book ever written about jazz."-David Thomson, Los Angeles TimesIn eight poetically charged vignettes, Geoff Dyer skillfully evokes the music and the men who shaped modern jazz. Drawing on photos, anecdotes, and, most important, the way he hears the music, Dyer imaginatively reconstructs scenes from the embattled lives of some of the greats: Lester Young fading away in a hotel room; Charles Mingus storming down the streets of New York on a too-small bicycle; Thelonious Monk creating his own private language on the piano. However, music is the driving force of But Beautiful, and wildly metaphoric prose that mirrors the quirks, eccentricity, and brilliance of each musician's style.

*Winner of the National Book Critics Circle Award in Criticism**A New York Times Book Review Editors' Choice**A New York Times Top 10 Nonfiction Book of the Year, as selected by Dwight Garner*Geoff Dyer has earned the devotion of passionate fans on both sides of the Atlantic through his wildly inventive, romantic novels as well as several brilliant, uncategorizable works of nonfiction. All the while he has been writing some of the wittiest, most incisive criticism we have on an astonishing array of subjects-music, literature, photography, and travel journalism-that, in Dyer's expert hands, becomes a kind of irresistible self-reportage. Otherwise Known as the Human Condition collects twenty-five years of essays, reviews, and misadventures. Here he is pursuing the shadow of Camus in Algeria and remembering life on the dole in Brixton in the 1980s; reflecting on Richard Avedon and Ruth Orkin, on the status of jazz and the wonderous Nusrat Fateh Ali Khan, on the sculptor ZadKine and the saxophonist David Murray (in the same essay), on his heroes Rebecca West and Ryszard Kapus¿cin¿ski, on haute couture and sex in hotels. Whatever he writes about, his responses never fail to surprise. For Dyer there is no division between the reflective work of the critic and the novelist's commitment to lived experience: they are mutually illuminating ways to sharpen our perceptions. His is the rare body of work that manages to both frame our world and enlarge it.

Republished to mark the centenary of the battle of the Somme Geoff Dyer's classic book is 'the great Great War book of our time' (Observer)

'Among the most original and talented writers of his generation' Independent on Sunday

'If Raymond Chandler and Italo Calvino had collaborated on a road movie script the result might have been somewhat similar' Sunday Telegraph

By sea and on the airwaves, by dollar and yuan, a contest has begun that will shape the next century. China's rise has now entered a critical new phase, as it seeks to translate its considerable economic heft into a larger role on the world stage, challenging American supremacy. Yet he also shows why China may struggle to unseat the West - its ambitious designs are provoking anxiety, especially in Asia, while America's global alliances have deep roots. If Washington can adjust to a world in which it is not the sole dominant power, it may be able to retain its ability to set the global agenda.

'Not since Colin MacInnes's City of Spades and Absolute Beginners thirty years ago has a novel stuck a flick-knife so accurately into the young and marginal city' The Times

'A screamingly funny genre-defying feat . . . sublime' Maggie O'Farrell, Daily Telegraph

'A beautifully composed rave generation rhapsody . . . dripping with eroticism.' Sunday Times

In the spirit of Yoga For People Who Can't Be Bothered To Do It, his bestselling book about travel, Geoff Dyer is back on the road.

'One of the most graceful ruminations on photography ever . . . Dyer's tour de force is as inspirational as it is accessible.' Sunday Telegraph

Winner of the Bollinger Everyman Wodehouse Prize and a New York Times Notable Book of the Year

'The funniest book I have ever read' Steve Martin

'Dyer is becoming a character just as arch and seductive as that professional self-effacer from the previous generation, Alan Bennett' Observer