Free PDF Zona: A Book About a Film About a Journey to a Room, by Geoff Dyer
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Zona: A Book About a Film About a Journey to a Room, by Geoff Dyer
Free PDF Zona: A Book About a Film About a Journey to a Room, by Geoff Dyer
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Review
“Extremely clever. . . . Dyer’s evocation of Stalker is vivid; his reading is acute and sometimes brilliant.” —New York Times Book Review "The most stimulating book on a film in year." —The New Republic "We all know what it is like to feel indebted to, and inadequate before, a towering work, but few people have ever described that feeling with the ingenuity or the candor of Dyer. . . . [T]he book is not only readable, it is hard to put down." —The New York Review of Books “Testifying to the greatness of an underappreciated work of art is the core purpose of criticism, and Dyer has delivered a loving example that’s executed with as much care and craft as he finds in his subject.” —Los Angeles Times “An unclassifiable little gem. . . . Very funny and very personal.” —San Francisco Chronicle “An engaging piece of writing that asks questions about the nature of art and provides a new way to write about film.” —The Atlantic “Irresistible. . . . Dyer is an enormously seductive writer. He has a wide-ranging intellect, an effortless facility with language, and a keen sense of humor.” —Slate “[Dyer] finds elements along the way that will keep even non-cinéastes onboard. While he dedicates ample energy to how the movie’s deliberate pacing runs contrary to modern cinema, its troubled production and the nuts and bolts of its deceptively simple parts, Dyer’s rich, restless mind draws the reader in with specific, personal details.” —Los Angeles Times “Geoff Dyer is at his discursive best in Zona.” —New York Times Magazine “Intimate, engaging, often brilliant.” —Michael Wood, London Review of Books “You can read this book in 162 minutes and come away refreshed, enlivened, infuriated, amused, thoughtful, and mystified. An invigorating mixture of responses, but this is a Geoff Dyer book. . . . The most stimulating book on a film in years.” —David Thomson, The New Republic “If any film demands book-length explication from a writer of Geoff Dyer’s caliber, it’s surely Stalker. . . . Dyer is, as the book amply demonstrates, the perfect counterpart to Tarkovsky. Where the film director is stubbornly slow and obscure, Dyer is a fleet and amusing raconteur with a knack for amusing digressions.” —Richmond Times-Dispatch “[Dyer] combines a rigorous scholarship and criticism with whimsical digressions, both fictional and autobiographical, to create the light but heady concoction that’s become his signature.” —Time Out New York “Dyer has been just under the radar for many years now, but [he] deserves the widest of audiences as he writes books that are funny, off-beat and hugely informative. This latest is ostensibly about the Russian filmmaker Tarkovsky, but it’s really about life, love and death—with many jokes and painful-but-true bits along the way.” —Details “Zona is an unpretentious yet deeply involving discussion of why art can move us, and an examination of how our relationship to art changes throughout our lives. It’s also funny, moving and unlike any other piece of writing about a movie.” —The Huffington Post “Dyer’s language is at its most efficient in this book, conversational and spare. . . . Cultural artifacts worthy of this degree of obsession are rare and it’s a pleasure to read Dyer’s wrestling with one.” —New York Observer “Fascinating. . . . Dyer remains a uniquely relevant voice. In his genre-jumping refusal to be pinned down, he’s an exemplar of our era. And invariably, he leaves you both satiated and hungry to know where he’s going next.” —NPR “The comedy and stoner’s straining for meaning is always present. And, when it is rewarded, as it so often is with rich associative memoir and creative criticism in Zona, we feel complicit, we celebrate the sensation at the end of all that straining, alongside with him.” —The Daily Beast “Fascinating. . . . Dyer’s unpredictable and illuminating observations delighted and amused . . . all the way through.” —Minneapolis Star-Tribune “Wickedly funny. . . . The definitive work of an author whose work refuses definition.” —Austin American-Statesman “[Zona] is about the power of art. It is a case study in how something created by anyone but you can seem like your creation, so deeply does it resonate with the details of your life. This is what Stalker calls the ‘unselfishness of art’ and it is Geoff Dyer’s gift to his readers.” —The Millions “Geoff Dyer has tricked up Tristram Shandy, cross-bred it with Lady Gaga, and come up with an insightful, audacious, deeply personal, often hilarious and entertaining approach to literature in a world which doesn’t much appreciate art or even the book itself. He is one of the most interesting writers at work today in English.” —Wichita Eagle “Dyer’s musings on everything from on-set disasters to his desire to join a threesome make for a rich and wacky sojourn.” —Mother Jones
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About the Author
Geoff Dyer is the author of four novels (most recently Jeff in Venice, Death in Varanasi); a critical study of John Berger; a collection of essays, Otherwise Known as the Human Condition; and five highly original nonfiction books, including But Beautiful, which was awarded the Somerset Maugham Prize, and Out of Sheer Rage, a National Book Critics Circle Award finalist. He lives in London.
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Product details
Paperback: 240 pages
Publisher: Vintage (November 13, 2012)
Language: English
ISBN-10: 0307390314
ISBN-13: 978-0307390318
Product Dimensions:
5.2 x 0.7 x 8 inches
Shipping Weight: 7 ounces (View shipping rates and policies)
Average Customer Review:
3.5 out of 5 stars
55 customer reviews
Amazon Best Sellers Rank:
#327,014 in Books (See Top 100 in Books)
There are some decent insights in this book, particularly about the lack of symbolism in Stalker and the crisis experienced by the characters in the film when they finally reach The Room. And there are references to other directors and authors (Angelopoulos, William James) that will lead me to further viewing and reading. But the insights are buried in a lot of annoying flippant asides, strained humor, and pages-long footnotes about nothing. The author states that, though he finds Stalker to be a profoundly important film, he feels Tarkovsky is viewed with a bit too much reverence; that even Tarkovsky fell prey to this and suffered from self-reverence. So to counter this (I guess) the tone of the discussion often lapses into a sort of cynical jokiness. Describing a scene in the bar before the characters begin their journey, the author gives us: “The moment the barman has stopped pouring he [the character Writer] downs it in one—attaboy!†The presence of Ravel’s Bolero in the opening scenes starts him on a discussion of Bo Derek. When the dog makes his appearance in the Zone, the author refers to him as the “doggyâ€. He poses an interesting question (“is one’s deepest desire always the same as one’s greatest regret?â€) only to deflate it with an oh-so-hip joke (“my greatest regret is...that I’ve never had a three-way, never had sex with two women at once.â€)I guess this makes me sound like some kind of moldy fig, but I watch films like Stalker to get away from cynicism and junk pop culture and it’s disappointing to wade through pages of it before reaching an intelligent discussion about the film.
Tarkovsky did his best to make a dull movie. But to many the movie had a point. Geoff Dyer did his best to make a summary of a dull movie. And made a dull book. Mostly, to be honest, about him. His life, his wishes, his regrets, his drug use, his wish for a dog. Its the film through HIS eyes.Now, in a sense all reviews or discussions about a book or movie is through the eyes of the reviewer. Their own history, their own experiences, act like a filter or lens that they saw the story through. And sometimes this allows them to give us some insight that we, having different filters or lens, may not have noticed. That is the point of reading or listening to a review.But not here. At one point the author explains he has NO idea why the Stalker is tossing nuts about. Even though the Stalker explained, within the movie, he was searching for traps. HOW can I believe Geoff Dyer has any clue about what he is talking about...no...discussing...? no..babbling about? Yes. How can I believe Geoff Dyer has any clue about what he is babbling about when I know more about the film than he does?And the footnotes. Some of them go for pages, taking over the book, and causing some confusion. Sometimes there is a gem here and there but you had to search for it. Yet I had no problems with his language. Okay, he called a dog a "doggy".I think the real problem is this is BABBLING. Almost as if he recorded what he was saying during a watching of the film and had somebody type it out. As if somebody was trying to do make a Mystery Science Theater 3000 episode of Stalker. Badly.His humor is hit and miss, much of what he talks about (such as the interviews) could easily be found on the net, and the book could have easily been smaller. No, really, it could have easily been half the size. This was over 200 pages. It could have easily been 100 pages. Less if the editor had forced him to take over or reduce many of the footnotes.When I finally finished the book I realized I was likely going to sell it to Second & Charles. Because this is NOT a reread. And to be honest I doubt they will give me much for it.In the end I would suggest getting it from a library if you want to read it. But warned - you will likely NOT get anything NEW from his views of the movie. This is like those travel books that don't tell you anything about the country but everybody about the views the writer HAS on the country. If done right they can bring you insight and a smile on your face. If done wrong...you get this book.
Dyer claims that a work of art that changes your DNA can only be experienced at a young age, typically in your teens or twenties and can not happen later in life. That art for him is the 1979 cinematic sci-fi masterpiece Stalker, directed and written by the legendary Russian Tarkovsky.I wasn't particularly interested in reading about the movie Stalker since I hadn't seen it, but when I picked Zona up in the bookstore I could not put it down.The influence of this film on Dyer is evident as he passionately and carefully summarizes the story and its meaning. He has not only analyzed every reel of the film but the challenges, and there were many, in making the film.His love of this film is the basis for analogies and metaphors and associations with art and life. The film leads to Burning Man, Nabokov, Kafka, Antonioni, Fitzgerald, Nosferatu, Brother's Karamazov, Solaris, L'Avventura, The Italian Job, Henry James, Hopi Indians, Buster Keaton, Flaubert, Roland Barthes, Daniel Day Lewis and on and on.He suggests that this film with its slow pace has given him a deeper appreciation for art and allowing a story to unfold. This is not something available in movies today he laments. But he also did not love Stalker when he first saw it; in fact, he was a little bored, but "it was an experience I couldn't shake off."The title Zona refers to the mythical zone in the film where your innermost desires will be granted. Dyer's deepest desire appears to have been sleeping with two women at once. I mention this because it's revealing and humorous, but also reflects the wild honesty in his writing.If you haven't seen this film, I suggest you read this book before you do. If you have seen it, this book will change or reinforce your impression of a fascinating movie.There's a sense of going over the edge in Dyer's writing--that is often like reading a revealing memoir--he is so original that I can't think of another writer who can reach his state of unforgettable madness.For me Dyer lifts Tarkovsky up to the level of a Homer in the sense that Stalker encompasses history, myth and a fantastical journey that only art can communicate.
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