Yoga for People Who Can't Be Bothered to Do It

Yoga for People Who Can't Be Bothered to Do It

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by Geoff Dyer

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This isn’t a self-help book; it’s a book about how Geoff Dyer could do with a little help. In mordantly funny and thought-provoking prose, the author of Out of Sheer Rage describes a life most of us would love to live—and how that life frustrates and aggravates him.

As he travels from Amsterdam to Cambodia, Rome to Indonesia, Libya to

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This isn’t a self-help book; it’s a book about how Geoff Dyer could do with a little help. In mordantly funny and thought-provoking prose, the author of Out of Sheer Rage describes a life most of us would love to live—and how that life frustrates and aggravates him.

As he travels from Amsterdam to Cambodia, Rome to Indonesia, Libya to Burning Man in the Black Rock Desert, Dyer flounders about in a sea of grievances, with fleeting moments of transcendental calm his only reward for living in a perpetual state of motion. But even as he recounts his side-splitting misadventures in each of these locales, Dyer is always able to sneak up and surprise you with insight into much more serious matters. Brilliantly riffing off our expectations of external and internal journeys, Dyer welcomes the reader as a companion, a fellow perambulator in search of something and nothing at the same time.

Editorial Reviews

From the Publisher
“Uproarious, unclassifiable. . . exquisitely manic. . . . [Dyer is] assuredly among the funniest writers alive.” —San Francisco Chronicle

“A delightfully original book. . . . Dyer’s writing brims with offbeat insights that had me chuckling for hours later, or reading aloud to dinner companions.” —Tony Horowitz, The New York Times Book Review

“A freewheeling, bawdy, elegant tour of a brilliant mind.” —Steve Martin

“An irresistibly funny storyteller, [Dyer] is adept at fiction, essay, and reportage, but happiest when twisting all three into something entirely his own.” —The New Yorker

“Utterly unclassifiable. If Hunter S. Thompson, Roland Barthes, Paul Theroux and Sylvia Plath all went on holiday together in the same body, perhaps they could come up with something like it. This is the funniest book I have read for a very long time.” —William Shawcross, Independent on Sunday

The New Yorker
If Dyer weren't so prolific, it would be tempting to crown him Slacker Laureate. A restless polymath and an irresistibly funny storyteller, he is adept at fiction, essay, and reportage, but happiest when twisting all three into something entirely his own. His latest autobiographical misadventures form an indolent anti-pilgrimage through "places where I stayed and things that have stayed with me." Intending to write a book on the concept of antiquity, he gets stoned and hangs out a lot, occasionally despairing as the ruins he wanders among -- in Rome, Libya, Cambodia, and Detroit -- seem to mirror the wreckage of his own life. While Dyer comically exaggerates his ineptitude by invoking the insights of Rilke, Auden, Nietzsche, Borges, and Frank O'Hara, the very extent to which their views have informed his suggests that this globetrotter's true home is in literature itself.
Publishers Weekly
Dyer's ninth book (Out of Sheer Rage; Paris Trance), a collection of 11 personal essays covering his travels around the globe, begins in New Orleans when Dyer is in his late 20s and concludes in the Nevada desert some 20 years later. In between he touches ground in destinations such as Bali and Amsterdam, usually seeking a "peak experience." More often than not, he is disappointed in his quest, but makes engaging stories of many aimless walks, such as wandering stoned through Amsterdam in search of a lost hotel, touring the ruined Roman city of Leptis Magna, or stumbling upon a suicide on South Beach. Even more intriguing than the far-flung locales he describes-such as Cambodia, Libya and Thailand-are the seemingly pedestrian ones he makes exotic. His essay "The Rain Inside," on experiencing a near emotional breakdown at a techno music festival in Detroit, is a masterpiece, equal parts introspection and cutting observation. Though the moments and perceptions he records are fleeting, Dyer deliberately provides touchstones-repeat references to Auden; the durability of his Teva sandals-that mark a path through the book. Fittingly, it's only when he finds himself in the metaphorical nowhere of the TAZ (Temporary Autonomous Zone) at the Burning Man Festival, that this postmodern pilgrim finally finds his place in the world. This original book from a genuine writer-a modern Montaigne-should provide serious readers with a lasting high. (Jan.) Forecast: Though Dyer continues to gain critical accolades, his books are hard to classify and may confuse browsers. Prominent placement in stores and hand selling could help the book find its audience and boost sales. Copyright 2002 Cahners Business Information.
Library Journal
Despite its title, this isn't a book about Indian religious practices but rather a collection of ten witty and perceptive travel essays spanning about 20 years of the author's life. A British novelist, essayist, and world traveler, Dyer (But Beautiful: A Book About Jazz) has had plenty of adventures-in Libya, Cambodia, Holland, New Orleans, France, and more. He describes places and situations very well, but he's at his best when depicting people in all their eccentric and whimsical individuality. He portrays himself just as candidly, talking about his sexual affairs, overindulgence in drugs and alcohol, and generally scruffy lifestyle and the feelings of worthlessness and helplessness that he experiences rather frequently as a result. Dyer deals with the usual greedy border guards, lazy bureaucrats, street hustlers, and pickpockets. But after all, these are people, too, and Dyer characterizes them just as humorously as others. Highly entertaining and full of interesting details, especially about the author himself, this collection will appeal to many readers and is recommended for all libraries.-James F. DeRoche, Alexandria, VA Copyright 2003 Reed Business Information.
Kirkus Reviews
In a neat bit of legerdemain, a British literary critic and novelist concocts an existential memoir from a fabric of sideways glances and moments out of time.

There are times, many times, when Dyer (Paris Trance, 1999, etc.) approaches "a kind of parable, one without any lesson or moral, a parable from which it would be impossible to learn anything or draw any conclusions," when you have to hold it obliquely and read it askance, finding its importance in the marginalia, all that glitters on the verge. And you have to be quick about it, because he keeps on the move: Detroit to Cambodia, New Orleans to Paris, Amsterdam, and Rome. He is adrift, distracted, agitated: "As soon as I had sat down, I would think, I'll stand up, and then, as soon as I had stood up, I would want to sit down." In counterpoint to Frank O’Hara, he would work along the lines of " ‘I did not do this and I did not do that,’ but predictably, I did not do this." He just wanted to get in the car and drive, but "the only place I really wanted to go was Rome, and I was there already." But for all the who’s-on-first rigmarole, the plaints of loss and decline, grousing about "the roller-coaster emotions of travel, its surges of exaltation, its troughs of despondency," Dyer is remarkably active and observant, his attentiveness aided more than once by helpings of mushrooms or marijuana. For all his professed loneliness, he spends plenty of time with women and friends, in amusement and openness, whether it be trying to calm a date who gets royally spooked by the power of his "skunk," or the clarity enjoyed in Amsterdam when he "unblocked all sorts of cafe chakras and was experiencing a sense of absolute calm"--or watchingBurning Man, engulfed in flames, buckle at the knee, as if "to step free of the fire that defined and claimed him."

While Dyer may feel he is swimming in custard, his descriptions of his days afloat in foreign landscapes are a compression of jolts that will stir his audience, elementally and disturbingly.

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Product Details

Knopf Doubleday Publishing Group
Publication date:
Vintage Series
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5.15(w) x 7.94(h) x 0.57(d)

Read an Excerpt

Horizontal Drift

In 1991 I lived for a while in New Orleans, in an apartment on Esplanade, just beyond the French Quarter, where from time to time British tourists are murdered for refusing to hand over their video cameras to the cracked-out muggers who live and work nearby. I never had any trouble—I’ve never owned a video camera, either—even though I walked everywhere at all times.

I’d decided to come to New Orleans after a girlfriend and I passed through, on our way to Los Angeles from New York. We were delivering a car, and though, usually, you are allowed only a few hundred miles more than it takes to drive cross-continent in a straight line, our car’s original mileage had not been recorded, and so we zigzagged our way across the States, exceeding the normal distance by several thousand miles and thoroughly exhausting ourselves in the process. In the course of this frenzied itinerary we’d stayed only one night in New Orleans, but it—by which I mean the French Quarter rather than the city at large—seemed like the most perfect place in the world, and I vowed that when I next had a chunk of free time, I would return. I make such vows all the time without keeping them, but on this occasion, a year after first passing through, I returned to New Orleans to live for three months.

I spent the first few nights in the Rue Royal Inn while I looked for an apartment to rent. I hoped to find a place in the heart of the Quarter, somewhere with a balcony and rocking chairs and wind chimes, overlooking other places with rocking chairs and balconies, but I ended up on the dangerous fringes of the Quarter, in a place with a tiny balcony overlooking a vacant lot which seethed with unspecified threat as I walked home at night.

The only people I knew in New Orleans were James and Ian, a gay couple in their fifties, friends of an acquaintance of a woman I knew in London. They were extremely hospitable, but because they were a good deal older than I and because they both had AIDS and liked to live quietly, I settled quickly into a routine of work and solitude. In films, whenever a man moves to a new town—even if he has served a long jail term for murdering his wife—he soon meets a woman at the checkout of the local supermarket or at the diner where he has his first breakfast. I spent much of my thirties moving to new towns, towns where I knew no one, and I never met a woman in the supermarket or the Croissant d’Or, where I had breakfast on my first morning in New Orleans. Even though I did not meet a waitress at the aptly named Croissant d’Or, I continued to have breakfast there every day because they served the best almond croissants I had (and have) ever tasted. Some days it rained for days on end, the heaviest rain I had ever seen (I’ve seen worse since), but however hard it was raining I never missed my breakfast at the Croissant d’Or, partly because of the excellence of the croissants and coffee, but mainly because going there became part of the habitual rhythm of my day.

In the evenings I went to the bar across the road, the Port of Call, where I tried, unsuccessfully, to engage the barmaid in conversation while watching the Gulf War on CNN. On the night of the first air strikes against Baghdad, the bar was rowdy with excitement and foreboding. Yellow ribbons were tied around many of the trees on Esplanade, which I walked up every day on my way to the Croissant d’Or, where, as I ate my almond croissants, I liked to read the latest reports from the Gulf, either in the New York Times or in the local paper, whose name—the Louisiana something?—I have forgotten. After breakfast I walked home and worked for as long as I could, and then strolled through the Quarter, led on, it seemed, by the sound of wind chimes, which hung from almost every building. It was January but the weather was mild, and I often sat by the Mississippi reading about New Orleans and its history. Because the city is located at the mouth of the Mississippi, its foundations are in mud, and each year the buildings sink more deeply into it. As well as being warped by the sun and rotted by rain and humidity, many of the buildings in the Quarter sloped markedly as a result of subsidence. This straying from the vertical was complemented by a horizontal drift. The volume of detritus carried south by the Mississippi was such that the river was silting itself up and changing course so that, effectively, the city was moving. Every year the streets moved a fraction of an inch in relation to the river, subtly altering the geography of the town. Decatur Street, for example, where James and Ian lived, had moved several degrees from the position recorded on nineteenth-century maps.

As I sat by the Mississippi one afternoon, a freight rumbled past on the railroad track behind me, moving very slowly. I’d always wanted to hop a freight, and I sprang up, trying to muster up the courage to leap aboard. The length of the train and its slow speed meant that I had a long time—too long—to contemplate hauling myself aboard, but I was frightened of getting into trouble or injuring myself, and I stood there for five minutes, watching the boxcars clank past, until finally there were no more carriages and the train had passed. Watching it curve out of sight, I was filled with magnolia-tinted regret, the kind of feeling you get when you see a woman in the street, when your eyes meet for a moment but you make no effort to speak to her and then she is gone and you spend the rest of the day thinking that, had you spoken, she would have been pleased, not offended, and you would, perhaps, have fallen in love with each other. You wonder what her name might have been. Angela perhaps. Instead of hopping the freight, I went back to my apartment on Esplanade and had the character in the novel I was working on do so.

When you are lonely, writing can keep you company. It is also a form of self-compensation, a way of making up for things—as opposed to making things up—that did not quite happen.

As the eventless weeks went by it became warmer and more humid, and Mardi Gras drew near. A condition of renting my apartment was that I move out during Mardi Gras, when it was possible to charge four or five times the normal weekly rate. Fortunately, James and Ian were going away and they allowed me to stay in their place on Decatur which was no longer quite as close to the river as it had once been. At first it was fun, Mardi Gras. I liked the sport of trying to catch stuff—plastic beakers, beads, and other trinkets, rubbish really—thrown from the crazy floats inching through the crowded streets. It was like a cross between basketball and being in a mob of refugees scrambling for food rations thrown by soldiers. Being tall, I could outreach most people, even though there are some tall men, mainly black, in Louisiana; the whites are shorter for the most part, easy to outjump. One night I was part of a herd buffaloing along Rampart, leaping for beakers and beads, when gunshots were heard. Suddenly everyone was screaming and we were all running in panic. For some reason—it had never happened before—one of my knees gave way and I lurched forward into the person ahead of me, would have fallen to the ground if I hadn’t grabbed hold of him. This initiated another brief surge of panic, and then everyone stopped running and there were sirens and police everywhere and things returned to the normal Mardi Gras uproar.

As the carnival progressed so it became more unpleasant, almost a bore. The Quarter was jammed with college kids and tins of Budweiser and broken plastic beakers, and the streets reeked of old beer and fresh vomit. The flip side of this was the extravagant balls organized by various krewes. Ian had given me his invitation to one of these bashes, where I met Angela, a young black woman who was studying wealth accumulation at law school. The day after the ball she came round to James and Ian’s apartment wearing freshly laundered Levi’s and a red blouse. Her hair was tied back in a ribbon, also red. We stood side by side on the balcony, drinking white wine in glasses so fine you hardly dared hold them. Our hands on the balcony rail were only inches apart. I moved my hand until it almost touched hers, and then it was touching hers and she didn’t move her hand away, so I stroked her arm.

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Yoga for People Who Can't Be Bothered to Do It 4.2 out of 5 based on 0 ratings. 6 reviews.
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Guest More than 1 year ago
We all have travel stories but Mr. Dyers are poetic, hysterical and infused with philosophy. The stories are intertwined and flow beautifully so you can't resist the next one. I wish there were twenty more destinations!
Guest More than 1 year ago
As an extremely talented writer, Dyer's writing transports one into the world in which he describes. His unique sense of dark humor, for those who can appreciate it, will surely keep you chuckling and amused; as an individual, Dyer is quite a character. Dyer is a nonchalant intellect, and shares his many twisted, philisophical insights about life and about what it is to be humans in Yoga For People Who Can't Be Bothered To Do It. He describes so eloquently the less pleasant emotional and psychological states and experiences that life throws at all of us, and how this inherently is an unavoidable part of life.