At dawn, in that uncertain time,
像地球一样焦躁不安
新的晚雨，我走到膝盖深
To where the bay-hound coughs asleep
And turning, change my way to climb
The shed hill in the laden air,
And underfoot green leaves excite
Wind that visited sea and sands
在夜里扭曲这些树叶
从雨冷漠的手中。
建议阅读
审查的审查
By The Paris Review复杂的战争历史、对乌克兰的反思以及音乐时代的新形式。
The Daily
本周的阅读
The Art of Fiction No. 250
By加里·印第安纳
版权©Laura Owens.
印第安纳州加里在他30多岁的时候he began to publish fiction, which may account for his wide array of sidelines. For many years he wrote and performed for theater, cabaret, and arthouse cinema. From 1985 to 1988 he savaged the pretensions of the art world each week as the critic for the乡村之声现在他自己也是一名艺术家：他的一个视频作品，Stanley Park（2013）出现在2014年的惠特尼双年展上，是在古巴一座监狱的废墟中被枪杀的。自90年代末以来，印第安纳州一直访问古巴。这部作品以黑色喜剧影响左翼政治，包括约瑟夫·冯·斯特恩伯格1941年的情节剧片段上海姿态. 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, and served as a peephole into the seventies and eighties bohemia dubbed “downtown,” which Indiana was a part of and refuses to glamorize; his roman à clef在黑暗中做任何事(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年），以及堕落的冷漠(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), a thick book of hisVoicecolumns. Seven Stories Press has republishedHorse Crazyand Indiana’s second novel,明天就走(1993), and will put out a collection of his essays,火灾季节, in 2022. These days he often meets young people who tell him they love his books.
印第安纳州是一个身材矮小的人，他非常善于使用手和手臂，通过切割空气来强调或通过转动手腕来阐明一个想法。他可以用一种丰富的、精心设计的反讽方式来进行整个对话，但他也坚持自己的观点，对王子和朋克的蔑视也很过分。语言从他身上迸发出来，没有任何提示和保留，他甚至以恶毒的趣味讲出最即兴的笑话或轶事。但他不喜欢接受采访。我怀疑，这种进取精神、压力、侵略性、神圣的宏大，正是他极力反对的镀金文学文化的味道。在我们的谈话中，他经常打断我们的谈话，对自己的声音表示遗憾。有一次，他和我们的一个共同的朋友打了一通长长的电话，向她咨询安眠药的剂量。
这次采访始于巴黎的一家小酒馆，印第安纳州在阿尔勒拜访了他的朋友、画家劳拉·欧文斯后在那里停了下来。它结束于第十一街的六层步行街，他从80年代起就在那里生活和工作。1981年，帕蒂·阿斯特（Patti Astor）的趣味画廊（Fun Gallery）在这栋楼的地下室开业，现在这里有一位通灵师。除了厨房的书架，从地板到天花板的书架占据了公寓的每一面墙；他目前正在床边的鸡尾酒手推车上阅读。当我拿起关于Gérard Lebovici遇刺案的思考盖伊·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. 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.”
INTERVIEWER
你属于作家的范畴，也曾是演员，包括梅·韦斯特和山姆·谢泼德。作为一名演员，你的优势是什么？
加里·印第安纳
I wasn’t trained, and I certainly didn’t have the technique of a professional. Directors would cast me because of the way I was, not what I could pretend to be. Often the wardrobe does half the work anyway. I was more of a special effect—they wanted my personality, or how I looked at the time. When I performed, I had—and this maybe had something to do with how much I drank—a quality of demonic abandon.
INTERVIEWER
在Valie Export的The Practice of Love, you’re screaming in a bathrobe.
INDIANA
In Christoph Schlingensief’sTerror 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.
INTERVIEWER
Were you serious about acting?
INDIANA
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黄色媒体中的道林·格雷形象.我扮演间谍，总是穿着俗气的巴伐利亚服装。
INTERVIEWER
出租人（1994）有沃纳·施罗德（Werner Schroeter）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？
INDIANA
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 atEight Hours Don’t Make a Day, 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.他还强迫我排练，但效率较低错误的喜剧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.
档案馆，第238期
Interview
Aisha Sabatini Sloan
第22集：“形式与无形”
艾莎·萨巴蒂尼·斯隆（Aisha Sabatini Sloan）在为该播客特别委托撰写的一篇文章中描述了她与父亲莱斯特·斯隆（Lester Sloan）在巴黎漫步的情景。莱斯特·斯隆是一名长期从事摄影工作的摄影师Newsweek和一个与他们成为朋友的迷人女人。摘自The Art of Fiction no. 246, Rachel Cusk and Sheila Heti discuss how writing her first novel helped Cusk discover her “shape or identity or essence.” Next, Allan Gurganus’s reading of his story “It Had Wings,” about an arthritic woman who finds a fallen angel in her backyard, is interspersed with a version of the story rendered as a one-woman opera by the composer Bruce Saylor. The episode closes with “亲爱的人“黛博拉·兰道的一首诗。
Rachel Cusk照片由作者提供。