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，Stanley Park（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, 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), a thick book of hisVoice列。七个故事媒体转载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.
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.”
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？
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.
在Valie Export的The Practice of Love，你在浴袍尖叫。
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.
Were you serious about acting?
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。
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？
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.
Aisha Sabatini Sloan
在专门为播客委托的一篇文章中，Aisha Sabatini Sloan描述了与她的父亲，Lester Sloan的巴黎周围漫步，这是一个长期的员工摄影师Newsweek和一个与他们交朋友的迷人女人。在摘录中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，“德国·兰普的一首诗。