Geoff Dyer

A wildly original novel of erotic fulfillment and spiritual yearning. Every two years the international art world descends on Venice for the opening of the Biennale. Among them is Jeff Atman--a jaded and dissolute journalist--whose dedication to the cause of Bellini-fuelled partygoing is only intermittently disturbed by the obligation to file a story. When he meets the spellbinding Laura, he is rejuvenated, ecstatic. Their romance blossoms quickly, but is it destined to disappear just as rapidly? Every day thousands of pilgrims head to the banks of the Ganges at Varanasi, the holiest Hindu city in India. Among their number is a narrator who may or may not be the Atman previously seen in Venice. Intending to visit only for a few days he ends up staying for months, and suddenly finds--or should that be loses?--a hitherto unexamined idea of himself, the self. In a romance he can only observe, he sees a reflection of the kind of pleasures that, willingly or not, he has renounced. In the process, two ancient and watery cities become versions of each other. Could two stories, in two different cities, actually be one and the same story? Nothing Geoff Dyer has written before is as wonderfully unbridled, as dead-on in evocation of place, longing and the possibility of neurotic enlightenment, and as irrepressibly entertaining as Jeff in Venice, Death in Varanasi.From the Hardcover edition.

In his most recent book, Yoga for People Who Can't Be Bothered to Do It, Geoff Dyer confessed that not only did he not take pictures in the course of his travels but that he does not even own a camera. With characteristic perver-sity--and trademark originality--Dyer has now come up with an idiosyncratic history of . . . photography. Seeking to identify their signature styles, Dyer looks at the ways in which such canonical figures as Alfred Stieglitz, Paul Strand, Walker Evans, Andre Kertesz, Edward Weston, Dorothea Lange, Diane Arbus, and William Eggleston, among others, have photographed the same things (barber shops, benches, hands, roads, and signs, for example). In doing so, he constructs a narrative in which these photographers--many of whom never met--constantly encounter one another.Great photographs change the way we see the world; The Ongoing Moment changes the way we look at both. It is the most ambitious example to date of a form of writing that Dyer has made his own: the nonfiction work of art.From the Hardcover edition.

"Luke moves to Paris with the idea of writing a novel, but life gets in the way. He befriends a fellow expatriate, Alex, and then falls in love with Nicole. Alex meets Sahra, and the two couples form an intimacy that changes their lives. As they discover the clubs and cafes of the eleventh arrondissement, the four become inseparable, united by deeply held convictions about dating strategies, tunneling in P.O.W. films, and, crucially, the role of the Styrofoam cup in action movies. Experiencing the exhilarating highs of Ecstasy and sex, they reach a peak of rapture - the comedown from which is unexpected and devastating."--BOOK JACKET.

Geoff Dyer wanted to write a book about D. H. Lawrence. He wanted, in fact, to write his 'Lawrence book'. The problem was Dyer didn't really know what his 'Lawrence book' would be, what form it would take, or even when he'd start writing it. He set out simply to explore and record his reactions - both as a reader, and as a writer himself. But, just as Lawrence's study of Thomas Hardy ended up being 'about anything but Thomas Hardy', so Dyer's book on Lawrence soon threatened to be as much about writers like Rilke, Camus and Thomas Bernhard as Lawrence himself, and as much - no, more - about his own experiences on the Lawrence trail, in New Mexico, Sicily, and darkest Eastwood. Impossible to categorise, Geoff Dyer's latest work of non-fiction transcends its subject with great aplomb. Both revealing and very funny, Out of Sheer Rage is a sort of travel book about Lawrence that becomes a book about the impossibility of finding a dependable supply of cornetti integrali in Rome before turning into a book about literature, and offering conclusive proof that the only decent books about art are art.

'Head bowed, rifle on his back, a soldier is silhouetted against the going down of the sun, looking at the grave of a dead comrade, remembering him. A photograph from the war, is also a photograph of the way the war will be remembered. It is a photograph of the future, of the future's view of the past. We will remember them' Relying more on personal impressions than systematic analysis, Geoff Dyer weaves a network of myth and memory that illuminates our own relation to the past.

"Six friends plot a nomadic course through their mid-twenties as they scratch out an existence in near-destitute conditions in 1980s South London."--Amazon.com.

"The new era of competition with China, and how America can win"--

A volume of nonfiction writings and essays by the National Book Critics Circle finalist draws on twenty-five years of work and includes pieces that reflect on subjects ranging from jazz and the British-dole queue to haute couture and hotel sex.

"From "one of our most original writers" (Kathryn Schulz) comes an expansive and exacting book--firmly grounded, but elegant, witty, and always inquisitive--about travel, unexpected awareness, and the questions we ask when we step outside ourselves. Geoff Dyer's perennial search for tranquility, for "something better," continues in this series of fascinating and seemingly unrelated pilgrimages--with a tour guide who is in fact not a tour guide at the Forbidden City in Beijing, with friends at the Lightning Field in New Mexico, with a hitchhiker picked up near a prison at White Sands, and with "a dream of how things should have been" at the Watts Towers in Los Angeles. Weaving stories about places to which he has recently traveled with images and memories that have persisted since childhood, Dyer tries "to work out what a certain place--a certain way of marking the landscape--means; what it's trying to tell us; what we go to it for." He takes his title from Gaugin's masterwork, and asks the same questions: Where do we come from, what are we, where are we going? The answers are elusive, hiding in French Polynesia, where he travels to write about Gaugin and the lure of the exotic; at the Museum of Fine Arts in Boston, where he goes to see the masterpiece in person only to be told it is traveling; and in Norway, where he and his wife journey to see, but end up not seeing, the Northern Lights. But at home in California, after a medical event that makes Dyer see everything in a different way, he may finally have found what he's been searching for"--

Discourses by an Indian religous leader, March 1976.

"How is it that we can walk unfamiliar streets while maintaining a sense of direction? Come up with shortcuts on the fly, in places we've never traveled? The answer is the complex mental map in our brains. This feature of our cognition is easily taken for granted, but it's also critical to our species' evolutionary success. In From Here to There Michael Bond tells stories of the lost and found-Polynesian sailors, orienteering champions, early aviators-and surveys the science of human navigation. Navigation skills are deeply embedded in our biology. The ability to find our way over large distances in prehistoric times gave Homo sapiens an advantage, allowing us to explore the farthest regions of the planet. Wayfinding also shaped vital cognitive functions outside the realm of navigation, including abstract thinking, imagination, and memory. Bond brings a reporter's curiosity and nose for narrative to the latest research from psychologists, neuroscientists, animal behaviorists, and anthropologists. He also turns to the people who design and expertly maneuver the world we navigate: search-and-rescue volunteers, cartographers, ordnance mappers, urban planners, and more. The result is a global expedition that furthers our understanding of human orienting in the natural and built environments"--