版权©Laura Owens.

加里·印第安纳州（Gary Indiana）在他开始出版小说时已经三十多岁了，这可能解释了他的各种各样的场景。多年来，他为剧院，歌舞表演和Arthouse Cinema创作并演出。从1985年到1988年，他每周都在艺术世界的偏爱，作为批评家的批评家乡村声音，他现在是一位艺术家：他的视频之一，斯坦利公园（2013年）出现在2014年惠特尼双年展上，在古巴一家监狱的废墟中被枪杀，印第安纳州自90年代末以来就访问过。这件作品与黑色喜剧相关的左翼政治，包括约瑟夫·冯·斯特恩伯格（Josef von Sternberg）1941年的情节剧的片段上海手势。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,上海手势。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.

印第安纳州的第一本小说，Horse Crazy(1989), sets a miserable love affair in a New York wracked byAIDS，并作为七十年代的窥视孔和八十年代的波西米亚称为“市区”，印第安纳州是其中的一部分，拒绝迷人。他的罗马clef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），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年），以及邪恶的日子（2018年），他的一本厚书嗓音列。七个故事出版社已经重新出版Horse Crazyand Indiana’s second novel,明天走了(1993), and will put out a collection of his essays,消防季节, 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对他的手和手臂进行了巨大的使用，将空气切成薄片，以强调或用手腕旋转来说明一个想法。他可以以一种丰富，精致的讽刺方式进行全部对话，但他也坚持自己的观点和奢侈的鄙视 - 王子和朋克的混合。语言在没有提示和没有预订的情况下从他身上绽放出来，他甚至为邪恶的福利提供了最狂热的笑话或轶事。但是他不喜欢接受采访。我怀疑，企业的压力，侵入性，圣礼的宏伟性 - 镀金的文学文化的巨大反对。在我们的谈话中，他经常破裂，使他认为自己听起来的方式感到遗憾。有一次，他与我们的一个共同的朋友一起避难，向她咨询了她的Ambien剂量。

这次采访始于巴黎的一个小酒馆，印第安纳州在拜访了他的朋友劳拉·欧文斯（Laura Owens）的阿尔斯（Arles）之后停了下来。它在他八十年代以来一直生活和工作的第十一街的六层步行中结束。帕蒂·阿斯特（Patti Astor）的Fun Gallery于1981年开业的建筑物的地下室，现在是一位通灵者。落地书架占据了公寓中的每堵墙，除了厨房。他目前的阅读是在床边的鸡尾酒手推车上。当我接送关于暗杀GérardLebovici的考虑因素盖伊·黛博德（Guy Debord）说，他喜欢黛博德（Debord）的“酒精风格”。我发现了Amiri Baraka的两份副本但丁的地狱系统。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

您属于也是演员的作家类别，其中包括Mae West和Sam Shepard。作为演员，您的优势是什么？

加里印第安纳州

我没有受过训练，我当然没有专业的技术。导演会因为我的方式而抛弃我，而不是我可以假装的。无论如何，衣柜通常会做一半的工作。我更是一个特殊的效果 - 他们想要我的个性，或者我当时的看法。当我表演时，我有 - 这可能与我喝了多少饮酒有关的魔鬼放弃了。

面试官

在Valie Export的爱的实践，您在浴袍中尖叫。

印第安纳州

In Christoph Schlingensief’s恐怖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黄色新闻中的多利安·灰色的图像。我玩过一辆间谍，总是穿着荒谬的巴伐利亚服装。

面试官

出租男孩（1994年）有沃纳·施罗特（Werner Schroeter）的题词，明天走了发生在电影片中。您的一些小说让我想起了Rainer Werner Fassbinder。您在电影中的作品影响了您的写作吗？

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八个小时不要一天, 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。他还义务我不太有效地排练错误的喜剧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.