让我告诉你我朋友的故事，安顿Zwiebel。
你很快就会意识到任何关于安东Zwiebel的故事也是一个关于我的故事，古斯塔夫·佩雷。事实上，我无法想象如何在任何没有包括我的安东斯Zwiebel的生活的任何帐户。我是安顿Zwiebel的核心，他是我的核心。
在第二次世界大战期间，我们均在1942年出生，但我们出生在瑞士，战争没有侵犯。一点后来，在1947年，当我们在佐林的幼儿园出席幼儿园，我们居住的村庄，我们开始了解战争以及如何，超越我国，有这么毁坏的世界，教师发现很难谈论。我们显示了毁了城市的照片。我记得，在其中一个照片中，一只白狗独自坐在瓦砾中，看到这只遗弃的狗让我感到孤独，好像我，而不是狗，是那里的生物。
你知道这个词吗？Zwiebel.方法洋葱？...
革命小说，波特兰朋克的图形小说，以及MOSH PIT的照片书。
版权©Laura Owens.
当他开始发布小说时，加里印第安纳曾在三十多岁时，这可能会占他广泛的侧链。多年来，他写了并对剧院，歌舞表演和Arthouse Cinema进行了。从1985年到1988年，他每周保存艺术世界的自负，作为批评者村庄的声音他现在是一个艺术家：他的视频作品之一，斯坦利公园（2013年）在2014年惠特尼两年期出现，在古巴的监狱遗址中被枪杀，该乡村印第安纳州以来已故九十年代以来已经访问过。用黑色喜剧将左翼政治造成左翼政治的作品，包括Josef Von Sternberg的1941年Melodrama片段上海姿态。In 1951, a group of surrealists riffed on scenes from that film in a game of exquisite corpse that became one of the inspirations for Indiana’s 2009 novel,上海姿态。Indiana’s fictions take many forms—true crime, picaresque, noir, lament—but all are driven by the engine of his ruthless sensibility. His characters dash through mazes of deceit and exploitation; cruelty is a central theme.
印第安纳州的第一部小说，Horse Crazy(1989), sets a miserable love affair in a New York wracked byAIDS，并担任撒上偷看的七十年代和八十年代波希米亚被称为“市中心”，印第安纳州的一部分和拒绝魅力;他的罗马àclef在黑暗中做一切(2003) is a fractured dirge for that milieu. The past few years have seen a kind of Indiana renaissance. Semiotext(e) has reissued his American crime trilogy,怨恨：喜剧（1997），Three Month Fever（1999），和堕落的漠不关心(2001)—each concerns a famous murder case, but ultimately is about what happens when inner agony collides with mass delusion—and has published a volume of early plays, short fiction, and poems,Last Seen Entering the Biltmore（2010），以及卑鄙的日子（2018），一本厚厚的书语音列。七个故事新闻已重新发布Horse Crazyand Indiana’s second novel,明天消失了(1993), and will put out a collection of his essays,火季节, in 2022. These days he often meets young people who tell him they love his books.
印第安纳州的一个小男人，使他的手和手臂造成了惊人的使用，从而强调或用手腕的旋转来阐明或说明一个想法。他可以在丰富的模式中进行整个谈话，令人着迷的讽刺，但他也坚持他的意见和奢侈的蔑视 - 一系列王子和朋克。语言在没有提示而不保留的情况下绽放出来，他甚至可以提供最糟糕的笑话或邪恶的津津乐道。但他不喜欢被采访。我怀疑是企业 - 压力，侵袭力，圣礼壮观 - 古怪的文学文化的傻瓜，他大力反对。在我们的谈话期间，他经常突破了他认为他响起的方式。有一次，他避难过很长的电话，与我们的共同朋友，咨询她的ambien剂量。
这次采访开始于巴黎的一位小酒馆，印第安纳州在参观他的朋友在阿尔勒斯的画家劳拉欧文斯举行。它在第11楼的六楼举行，自八十年代以来，他已经生活和工作。建筑物的地下室，帕蒂阿斯特的有趣画廊于1981年开业，现在拥有一个心灵。落地书架在公寓的每堵墙上占主导地位，除了厨房的墙壁;他目前的阅读是在床上的鸡尾酒小车上。当我拿起时关于暗杀Lebovici的审查盖伊欺骗，他说他喜欢脱德的“酗酒风格”;我发现了两份Amiri Baraka的副本Dante地狱的系统。More books are always arriving, in packages addressed to Gary Hoisington, the name given to him when he was born, in 1950, in Derry, New Hampshire. He has had cause to regret the pseudonym he chose on a whim. “Oh, hi,” John Ashbery said when they were introduced. “I’m Lowell Massachusetts.”
面试官
你属于也是演员的作家类别，包括Mae West和Sam Shepard。你作为演员的优势是什么？
加里印第安纳
我没有接受过培训，我当然没有专业的技术。由于我的方式，董事会给我一个，而不是我能假装的方式。衣柜通常会有一半的工作。我更有一种特殊效果 - 他们想要我的个性，或者我是如何看待时间的。当我表演时，我有 - 这可能会有所作为，我喝了多少 - 一种恶魔放弃的质量。
面试官
在Valie Export的爱的做法，你在浴袍尖叫。
印第安纳州
In Christoph Schlingensief’s恐怖主子2000., I’m also just screaming, mostly. That was one of my bigger roles. The film was based on real events that took place just after the reunification of Germany. I was a social worker helping Polish refugees get settled, and Udo Kier was the head of a gang of terrorists. They burst onto the train where I’m singing this song of welcome, and he shoots me with a machine gun.
面试官
Were you serious about acting?
印第安纳州
I liked doing it. It was fun. I got to go to Europe and hang out with a lot of really fabulous people I’d admired my whole life, like Delphine Seyrig. She and I met on the set of Ulrike Ottinger’s film在黄色新闻中Dorian灰色的图像。我玩了一个间谍，总是在kitschy巴伐利亚服装。
面试官
租男孩（1994）来自Werner Schroeter的盖帽，明天消失了发生在电影集上。你的一些小说让我想起了Rainer Werner Fassbinder。你的电影工作是否会影响您的写作？
印第安纳州
All the time I was acting I was also writing. I was always around directors—people I’d interviewed for some publication or done some writing for or whom I knew socially. I derived part of my sensibility from them, especially from Fassbinder. There was a merciless realism to his view of things. If you look at八小时不一天, you can see that he was very energized by a vision of how society could be better arranged. People think his films are cynical, but they’re not—they depict a cynical social order that really enraged him.
I got a lot from Schroeter, too. A truly magical human being. Werner obliged me to read all three volumes of Ernst Bloch’sThe Principle of Hope。他还强烈地努力，努力，排练错误的喜剧in a pre-Schlegel German translation for months. 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.
Rachel Cusk照片礼貌作者。
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