Geoff Dyer is the author of But Beautiful: A Book About Jazz, Out of Sheer Rage: Wrestling with D.H. Lawrence, a finalist for a National Book Critics Circle Award, Paris Trance, and Jeff in Venice, Death in Varanasi. He lives in England.
The following essay is excerpted from Otherwise Known as the Human Condition: Selected Essays and Reviews, coming from Graywolf Press in March 2011.
Don’t read much now.
Philip Larkin, “A Study of Reading Habits”
Could I have become a symptom, or is this an entirely personal indisposition?
Either way, I find it increasingly difficult to read. This year I read fewer books than last year; last year I read fewer than the year before; the year before I read fewer than the year before that. The phenomenon of writer’s block is well known, but what I am suffering from is reader’s block. The condition is creeping rather than chronic, manifesting itself in different ways in different circumstances. On a trip to the Bahamas recently I regularly stopped myself reading because, whereas I could read a book anywhere, this was the only time I was likely to see sea so turquoise, sand so pink. Somewhat grandly, I call this the Mir syndrome, after the cosmonaut who said that he didn’t read a page of the book he’d taken to the space station because his spare moments were better spent gazing out of the window. Sometimes I’m too lazy to read, preferring to watch television; more often I am too conscientious to read. Reading has never felt like work in the way that writing has, and so, if I feel I should be working, I feel I should be writing. Theoretically, if I am not writing then I am free to read but, actually, I always feel vaguely guilty, and so, instead of writing (working) or reading (relaxing), I do neither: I potter around, rearranging my books, clearing up. Basically I do nothing—until it’s time to catch a train, whereupon, like a busy commuter nibbling away at War and Peace in twenty-minute snatches, I plunge into a book, thinking, At last I’ve got a chance to read. In no time, though, I’m like Pessoa in The Book of Disquiet, “torn, in a futile anguished fashion, between my disinterest in the landscape and my disinterest in the book which could conceivably distract me.”
Back home there are plenty of books that I’ve not read and yet, gazing blankly at my shelves, all I can think is, There’s nothing left to read. Hoping to lance the boil, to get to the heart of the matter in the course of a transatlantic flight, I bought—but couldn’t face reading—Bernhard Schlink’s The Reader and Alberto Manguel’s A History of Reading. Having resigned myself to not reading them (or any of the other books I’d bought for the flight), I scavenged around for anything to read: the in-flight magazine, the duty-free catalog, the emergency evacuation procedure. And yet, at the same time that I am ready to read scraps like this, I am an overdiscriminating reader. I am always not reading something in the name of something else. The opportunity cost of reading a given book is always too great. Some books, obviously, are a waste of one’s eyes. To feel this about airport blockbusters is perfectly normal, but I feel it is beneath me to read Jeanette Winterson, for example, or Hanif Kureishi. In fact, most so-called quality fiction that is story-driven seems a waste of time (time that, by the way, I have in abundance). This would be fine if I could transpose a reluctance to read James Hawes into a willingness to read Henry James, but I am unable to get beyond the first five paragraphs (i.e., four sentences) of The Golden Bowl.
The strange thing about this is that at twenty I imagined I would spend my middle age reading books that I didn’t have the patience to read when I was young. But now, at forty-one, I don’t even have the patience to read the books I read when I was twenty. At that age I plowed through everything in the Arnoldian belief that each volume somehow nudged me imperceptibly closer to the sweetness and light. I read War and Peace, Anna Karenina, Ulysses, Moby Dick. I got through The Idiot even though I hated practically every page of it. I didn’t read The Brothers Karamazov: I’ll leave it till I’m older, I thought—and now that I am older I wish I’d read it when I was younger, when I was still capable of doing so.
Even at this late stage, however, some books do slip through the net and get read. I could make neither head nor tail of the first part of Jean Rhys’s Wide Sargasso Sea; normally I would have abandoned it, but, since the book was short and the end in sight almost from the first page, I finished it and realized that it was indeed the masterpiece everyone had claimed. Given that my faith in the canon remains relatively intact, why can’t I do that over a longer distance?
To an extent I’ve become if not a child then an adult of sound-bite culture, unable to concentrate on anything that does not offer immediate gratification. I have succumbed to what George Steiner in his essay “The Uncommon Reader” calls “the near-dyslexia of current reading habits.” (Just as I am often too discriminating to read, so my inability to read first manifested itself as a negative proof of my being, by Steiner’s definition at least—”a human being who has a pencil in his or her hand when reading a book”—an intellectual: I found I couldn’t read without a pencil in my hand.) It is in this sense that I am symptomatic
of “the fate of reading in the digital age.” The phrase is Sven Birkerts’s, the subtitle—and all I’ve read—of his Gutenberg Elegies. Appropriately enough, I look back elegiacally on my life as an obsessive reader, on my Bernhard phase, my Brodsky phase, my Camus phase, my DeLillo phase . . . I think of those sublime periods of lamp-lit solitude when, in Wallace Stevens’s phrase, “the reader became the book.” It can still happen, but it has something of the character of the occasional lovemaking of a long-married couple in that it reminds me of how things have changed, of how infrequently I am now consumed by a passion that was once routine. Losing myself in J. M. Coetzee’s Booker-winning Disgrace, I remember how I used to pass from one book to another in a tranced relay of imagined worlds. Looking at André Kertész’s photographs of readers sharing—however precariously perched—in the repose of the text, I find myself wondering and remembering.
Specifically, I remember two pieces in the American journal The Hungry Mind Review, which asked a number of writers to select a single book from this century that they would take with them into the next. Reflecting on the way he had gradually lost interest in fiction, Gerald Early asked if “this is how one, by stages, loses the ability to read or the interest in reading altogether.” This in turn, he thought, might be part of a process whereby one loses “slowly but inexorably the ability to feel deeply about anything.” For his part, Sven Birkerts chose Rilke’s Duino Elegies because “it is there we find the most potent possible distillation of subjective inwardness, our most endangered attribute.” Is this lack of “subjective inwardness” the malady of which my—and Early’s—declining ability to read is a symptom?
Perhaps not. In And Our Faces, My Heart, Brief As Photos, John Berger has speculated that the inability to remember might itself be a memory (of being a memory-less baby in the womb). In the same way, my declining ability to read is itself the product of having read a fair bit. If reading heightens your responses, shapes your idea of the world, gives you a sense of the purpose of life, then it is not surprising if, over time, reading should come to play a proportionately smaller role in the context of the myriad possibilities it has opened up. The more thoroughly we have absorbed its lessons, the less frequently we need to refer to the user’s manual. After a certain point subjective inwardness becomes self-rather than textually generated. Of course there is more to learn, more to read, but whereas, when I was a teenager, each new book represented an almost overwhelming addition to what I knew and felt, each new book now adds a smaller increment to the sum of knowledge.
When I was an eighteen-year-old in Cheltenham, waiting to study English at Oxford, my experience was radically circumscribed. I’d never been abroad. Except for teachers, I’d hardly met anyone who was not from pretty much the same working-class, non-reading milieu as my family. On the other hand, I was bursting with the limitless imaginings of Shakespeare, Wordsworth, Dickens, Lawrence. A life devoted entirely to the study of literature seemed the highest possible destiny. No longer. Reading, which gave me a life, is now just part of that life, at the moment rather a small part.
Books played a crucial part in determining how I became what I am. That slghtly ungainly phrase is derived from the subtitle of Ecce Homo, in which Nietzsche delivers the pronouncement with which anyone who has learned anything from books—from his, at any rate—will agree: “Early in the morning, at break of day, in all the freshness and dawn of one’s strength, to read a book—I call that vicious!”
Geoff Dyer, “Reader’s Block,” from Otherwise Known as the Human Condition. Copyright © 2011 by Geoff Dyer. Reprinted with the permission of Graywolf Press, Minneapolis, Minnesota, www.graywolfpress.org.
Video: Geoff Dyer on But Beautiful, Out of Sheer Rage, and Paris Trance
For the Australian painter, see Geoffrey Dyer.
Geoff Dyer (born 5 June 1958) is an English writer. He is the author of four novels and seven books of non-fiction, which have won a number of literary awards and been translated into 24 languages. Kathryn Schulz, writing in New York, described him as "one of our greatest living critics, not of the arts but of life itself, and one of our most original writers".
Dyer was born and raised in Cheltenham, England, as the only child of a sheet metal worker father and a school dinner lady mother. He was educated at the local grammar school and won a scholarship to study English at Corpus Christi College, Oxford. He is married to Rebecca Wilson, chief curator at Saatchi Art, Los Angeles. In March 2014, Dyer revealed that he had had a minor stroke earlier in the year, shortly after moving to live in Venice, Los Angeles.
Dyer is the author of four novels: The Colour of Memory, The Search, Paris Trance, and, most recently, Jeff in Venice, Death in Varanasi; a critical study of John Berger, Ways of Telling; three collections of essays, Anglo-English Attitudes, Working the Room and Otherwise Known as the Human Condition (a selection from the previous two essay collections published in the US); and six genre-defying titles: But Beautiful (on jazz), The Missing of the Somme (on the memorialization of the First World War), Out of Sheer Rage (about D H Lawrence), Yoga For People Who Can’t Be Bothered To Do It, The Ongoing Moment (on photography), and Zona (about Andrei Tarkovsky’s 1979 film Stalker). He is the editor of John Berger: Selected Essays and co-editor, with Margaret Sartor, of What Was True: The Photographs and Notebooks of William Gedney.
A selection of essays from Anglo-English Attitudes and Working the Room entitled Otherwise Known as the Human Condition was published in the US in April 2011 and won the National Book Critics Circle Award for Criticism.
One of his most recent books, Another Great Day at Sea (2014), chronicles Dyer’s experiences on the USS George H.W. Bush, where he was writer-in-residence for two weeks. It has been described by David Finkel, author of Thank You for Your Service, as "what we’ve all come to expect from Geoff Dyer—another great book. I loved everything about it. It’s brilliantly observed, beautifully written, incisive, funny, and filled with stirring truths about life and the value of service." Billy Collins, the former United States Poet Laureate and author of Aimless Love, said: "Geoff Dyer has managed to do again what he does best: insert himself into an exotic and demanding environment (sometimes, his own flat, but here, the violent wonders of an aircraft carrier) and file a report that mixes empathetic appreciation with dips into brilliant comic deflation. Welcome aboard the edifying and sometimes hilarious ship Dyer."
Dyer was made a Fellow of the Royal Society of Literature in 2005. In 2014 he was elected as an Honorary Fellow of Corpus Christi College, Oxford.
In 2013 he served as the prestigious Bedell Distinguished Visiting Professor at the University of Iowa's Nonfiction Writing Program. He now teaches in the PhD program at the University of Southern California.
Awards and honours
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- Dyer, Geoff (1986). Ways of telling : the work of John Berger. London: Pluto Press.
- — (1989). The colour of memory. London: Jonathan Cape.
- — (1991). But beautiful : a book about jazz. London: Jonathan Cape.
- — (1993). The search. London: Hamish Hamilton.
- — (1994). The missing of the Somme. London: Hamish Hamilton.
- — (1997). Out of sheer rage : in the shadow of D.H. Lawrence. London: Little, Brown.
- U.S. edition: Out of sheer rage : wrestling with D.H. Lawrence. U.S. edition. New York: North Point Press. 1998.
- — (1998). Paris trance. London: Abacus.
- — (1999). Anglo-English attitudes : essays, reviews, misadventures 1984-99. London: Abacus.
- Sartor, Margaret; Dyer, Geoff, eds. (2000). What was true : the photographs and notebooks of William Gedney. New York: Center for Documentary Studies.
- Berger, John (2001). Dyer, Geoff, ed. Selected essays. London: Bloomsbury.
- Dyer, Geoff (2003). Yoga for people who can't be bothered to do it. London: Time Warner.
- — (2005). The ongoing moment. London: Little, Brown.
- — (2009). Jeff in Venice, death in Varanasi. Edinburgh: Canongate.
- — (2010). Working the room : essays and reviews, 1999-2010. Edinburgh: Canongate.
- — (2011). Otherwise known as the human condition : selected essays and reviews, 1989-2010. Minneapolis, MN: Graywolf Press.
- — (2012). The colour of memory. Rev. and updated ed. Edinburgh: Canongate.
- — (2012). Zona. Edinburgh: Canongate. 
- — (2012). Zona : a book about a film about a journey to a room. U.S. edition. New York: Pantheon.
- — (2014). Another Great Day at Sea : life aboard the USS George H.W. Bush. Photographs by Chris Steele-Perkins. New York: Pantheon.
- 2016 White Sands: Experiences from the Outside World, Canongate, (p.233)
- The Street Philosophy of Garry Winogrand. Austin: University of Texas, 2018. ISBN 978-1477310335. Text by Dyer, photographs by Garry Winogrand.
Essays and reporting
- Dyer, Geoff (n.d.). "Albert Camus". Open City. 9 (Bewitched): 23–38. Retrieved 2015-07-27.
- — (1994). "Comics in a man's life". In Howe, Sean. Give our regards to the atomsmashers! : writers on comics. New York: Pantheon Books.
- — (Autumn 2002). "Hotel Oblivion". Granta. 79 (Celebrity).
- — (Winter 2002). "On the roof". Granta. 80 (The Group). Retrieved 2015-07-22.
- — (Autumn 2005). "White Sands". Granta. 91 (Wish You Were Here).
- Dyer, Geoff (8 October 2005). "The road less familiar". The Guardian. Retrieved 2015-07-27.
- — (November 2012). "A brief period of rejoicing : never mind the European meltdown, here's the Olympics!". Letter from London. Harper's Magazine. 325 (1950): 42–51.
- — (3 April 2014). "Why can't I see you?". Diary. London Review of Books. 36 (7). Retrieved 2015-07-28.
- For a lengthy discussion of Dyer's books see James Wood's essay "From Venice to Varanasi - Geoff Dyer's Wandering Eye" The New Yorker, 20 April 2009.
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