A Quote by Geoff Dyer

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.
A travel book is a book that puts you in the shoes of the traveler, and it's usually a book about having a very bad time, having a miserable time, even better. You don't want to read a book about someone having a great time in the South of France, eating and drinking and falling in love. What you want to read is a book about a guy going through the jungle, going through the arctic snow, having a terrible time trying to cross the Sahara, and solving problems as they go.
Of course you can have an opinion about Islam without having read Qur'an. You don't have to read Mein Kampf to have an opinion about Nazism.
What is prejudice? An opinion, which is not based upon reason; a judgment, without having heard the argument; a feeling, without being able to trace from whence it came.
I think that some books are more successful than others to certain readers. People who read my books for the humor, they're going to love one book. People who read my books for the mystery, they might not like that book quite as much.
Writing is what's important to me, and anything that helps me do that - or enhances and prolongs and deepens and sometimes intensifies argument and conversation - is worth it to me. [It is] impossible for me to imagine having my life without going to those parties, without having those late nights, without that second bottle.
What having a Down's syndrome child isn't - and I feel very strongly about this - is a tragedy. All those pregnancy books you read when you are expecting refer to Down's syndrome as if it were the worst possible outcome, and it's not.
I want my books to exist in the literary world, not only in the art world. I am interested in having a dialogue with other writers, and the readers of those writers. Someone who is reading a book of mine might not have visited my exhibitions related to it, but can still have a full, literary experience with that book. This would be a completely different experience from stepping into the show, not having read the book. One form is not illustrative of the other.
If nobody talks about books, if they are not discussed or somehow contended with, literature ceases to be a conversation, ceases to be dynamic. Most of all, it ceases to be intimate. It degenerates into a monologue or a mutter. An unreviewed book is a struck bell that gives no resonance. Without reviews, literature would be oddly mute in spite of all those words on all those pages of all those books. Reviewing makes of reading a participant sport, not a spectator sport.
Fiction seems to be more effective at changing beliefs than nonfiction, which is designed to persuade through argument and evidence. Studies show that when we read nonfiction, we read with our shields up. We are critical and skeptical. But when we are absorbed in a story, we drop our intellectual guard. We are moved emotionally, and this seems to make us rubbery and easy to shape.
People have extreme beliefs about whether it is right for humans to tamper with embryos in any way at all. Sometimes the values discussion gets conflated with the science discussion. We shouldn't pretend we're having an argument about science when we're having an argument about values.
We like books that have a lot of dreck in them, matter which presents itself as not wholly relevant (or indeed, at all relevant) but which, carefully attended to, can supply a kind of "sense" of what is going on. This "sense" is not to be obtained by reading between the lines (for there is nothing there, in those white spaces) but by reading the lines themselves looking at them and so arriving at a feeling not of satisfaction exactly, that is too much to expect, but of having read them, of having "completed" them.
A travel book is a book that puts you in the shoes of the traveler, and it's usually a book about having a very bad time; having a miserable time, even better.
You can't write a book if you've never read a book. And if you've read five books and you try to write a book, your book will mainly encompass the themes and the context of the five books you've read. Now, the more books you read, the more you can bring to a book when you decide to write one. So the more rap I learned, the more I was able to bring to rap when I decided to rap. But this was all subconscious.
Controversial issues are always more interesting but I don't create material about a subject I have opinion on just because it's controversial. The most fun is having a point of view that the audience is generally against and presenting an argument that challenges their thinking.
The best thing about conceptual poetry is that it doesn’t need to be read. You don’t have to read it. As a matter of fact, you can write books, and you don’t even have to read them. My books, for example, are unreadable. All you need to know is the concept behind them. Here’s every word I spoke for a week. Here’s a year’s worth of weather reports... and without ever having to read these things, you understand them.
All my life I have been reading romance novels. Those stupid books ruined me. I've always wanted that fire that every book I ever read talks about.
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