
版权©劳拉·欧文斯。
加里·印第安纳(Gary Indiana)开始出版小说时已年近三十,这可能是他广泛副业的原因。多年来,他为戏剧、卡巴莱和阿瑟影院创作和表演。从1985年到1988年,他每周都会猛烈抨击艺术界的自命不凡,称自己是《纽约时报》的评论家Village Voice, and he is now an artist himself: one of his video pieces,斯坦利公园(2013), which appeared in the 2014 Whitney Biennial, was shot in the ruins of a prison in Cuba, a country Indiana has visited since the late nineties. The piece, which inflects left-wing politics with black comedy, includes a snippet of Josef von Sternberg’s 1941 melodrama这个Shanghai Gesture1951年,一群超现实主义者在一场精致的尸体游戏中翻拍了那部电影的场景,这成为印第安纳州2009年小说的灵感之一,这个Shanghai Gesture印第安纳州的小说有很多形式,包括真实的犯罪、流浪汉、黑色、哀叹,但都是由他无情的情感驱动的。他笔下的人物冲破了欺骗和剥削的迷宫;残忍是一个中心主题。
印第安纳州的第一部小说,马疯了(1989),在一个饱受战争蹂躏的纽约上演了一段悲惨的恋情艾滋病,作为一个窥视七八十年代波西米亚的窗口,被称为“市中心”,印第安纳州是其中的一部分,拒绝美化;他的罗马字母谱号Do Everything in the Dark(2003)是对那种环境的断断续续的挽歌。在过去的几年里,印第安纳州出现了某种复兴。Semiotext(e)重新发行了他的美国犯罪三部曲,Resentment: A Comedy(1997),三个月发烧(1999), and堕落的冷漠(2001)-每一本书都涉及一个著名的谋杀案,但最终都是关于当内心的痛苦与集体妄想发生冲突时会发生什么,并出版了大量早期戏剧、短篇小说和诗歌,最后一次被看到进入比尔特莫尔(2010), as well asVile Days(2018),这是他的一本厚厚的书嗓音柱。《七个故事》出版社已重新出版马疯了印第安纳州的第二部小说,明天就走(1993年),并将出版他的论文集,Fire Season,2022年。这些天他经常遇到年轻人,他们告诉他他们喜欢他的书。
A small man, Indiana makes prodigious use of his hands and arms, slicing the air for emphasis or illustrating an idea with a twirl of the wrist. He can conduct whole conversations in a mode of rich, elaborate irony, yet he’s also insistent in his opinions and extravagant in his disdain—a mix of prince and punk. Language comes blooming out of him without prompting and without reservation, and he delivers even the most offhand joke or anecdote with wicked relish. But he did not enjoy being interviewed. I suspect that the very enterprise—the pressure, the invasiveness, the sacramental grandiosity—smacks of a gilded literary culture to which he’s vigorously opposed. During our conversations he frequently broke off to deplore the way he thought he sounded. On one occasion, he took refuge in a long telephone call with a mutual friend of ours, counseling her about her Ambien dosage.
This interview began at a bistro in Paris, where Indiana made a stop after visiting his friend the painter Laura Owens in Arles. It ended in the sixth-floor walk-up on Eleventh Street where he has lived and worked since the eighties. The basement of the building, where Patti Astor’s Fun Gallery opened in 1981, now houses a psychic. Floor-to-ceiling bookshelves dominate every wall in the apartment, except for the kitchen’s; his current reading is on a cocktail trolley by the bed. When I picked upConsiderations on the Assassination of Gérard Lebovici盖伊·德博德说他喜欢德博德的“酒鬼风格”;我发现了两份阿米里·巴拉卡的但丁地狱的系统。越来越多的书总是寄来,包装上写着加里·霍辛顿(Gary Hoisington),这是他1950年在新罕布什尔州德里出生时的名字。他有理由对一时兴起而选择的笔名感到后悔。“哦,嗨,”当他们被介绍时,约翰·阿什贝里说。“我是马萨诸塞州的洛威尔。”
主持面试者
You belong to the category of writers who have also been actors, which includes Mae West and Sam Shepard. What were your strengths as an actor?
GARY INDIANA
我没有受过训练,当然也没有专业技术。导演们选我是因为我的方式,而不是我可以假装的样子。通常情况下,衣橱可以完成一半的工作。我更像是一个特效,他们想要我的个性,或者我当时的样子。当我表演时,我有,这可能与我喝了多少酒有关——一种恶魔般的放纵。
主持面试者
在Valie Export的爱的实践你穿着浴衣尖叫。
印第安纳州
在Christoph Schlingensief的恐怖2000我也只是在尖叫。那是我更重要的角色之一。这部电影是根据德国统一后发生的真实事件改编的。我是一名帮助波兰难民定居的社会工作者,乌多·基尔是一伙恐怖分子的头目。他们冲进火车,我正在唱这首欢迎歌,他用机关枪向我开枪。
主持面试者
你是认真的吗?
印第安纳州
我喜欢这样做。很有趣。我去了欧洲,和很多我一生都敬佩的人在一起,比如Delphine Seyrig。我和她是在乌尔里克·奥廷格的电影片场认识的黄色媒体中的道林·格雷形象. I played a spy, always in a kitschy Bavarian costume.
主持面试者
男童租金(1994)有沃纳·施罗德的题词明天就走发生在电影布景上。你的一些小说让我想起雷纳·沃纳·法斯宾德。你的电影作品影响了你的写作吗?
印第安纳州
我演戏的时候也在写作。我总是和我为某个出版物采访过的人、为他们写过文章的人、或者我在社会上认识的人在一起。我的一部分情感来自他们,尤其是来自法斯宾德。他对事物的看法是无情的现实主义。如果你看八小时不是一天,你可以看到,他对如何更好地安排社会充满了活力。人们认为他的电影是愤世嫉俗的,但事实并非如此——他们描绘的是一种愤世嫉俗的社会秩序,这真的激怒了他。
我也从施罗德那里得到了很多。一个真正神奇的人。沃纳强迫我读了恩斯特·布洛赫的全部三卷书希望的原则. He also obliged me, less productively, to rehearse错误的喜剧在德国pre-Schlegel翻译好几个月。He hired a dialogue coach for me, an embittered actor who was in some detective series on TV, and he really hated me. He would preface every session by demanding, “Why is Werner Schroeter having you, an American, do this play at the Freie Volksbühne when you don’t even speak German?” I was to deliver this really long speech right when the curtain went up. I would tell Werner, “I can’t learn German, I can’t,” and he would say, “Anybody can learn German.” Finally I quit, and he was angry with me for a long time afterward. When I went back to Berlin to watch the production, he’d cut the entire speech down to three lines. I could easily have done it.