But never fall from fealty to light.
你说，梅尔维尔？现在，先生，上帝，为什么不呢？
The pall is comfortable enough; as soon rot
在那里是另一个地方；一旦得到满足，
The beauty of the dark is there’s no sight
Of that light you speak of! What lamps are lit
没有从忠诚掉下来
当曾经整夜完全接受时。
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By The Paris Review约翰·谢弗（John Cheever）的手势清单，与南希·里根（Nancy Reagan）的虚构遭遇以及铁杆朋克小型化。
The Daily
本周的阅读
The Art of Fiction No. 250
By加里印第安纳州
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乡村声音，他现在是一位艺术家：他的视频之一，Stanley Park（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, 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），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), a thick book of hisVoicecolumns. Seven Stories Press has republishedHorse 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，现在是一位通灵师。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.”
INTERVIEWER
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
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。
INTERVIEWER
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？
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.
从档案中，第238期
Interview
Aisha Sabatini Sloan
第22集：“形式和无形”
艾莎·萨巴蒂尼·斯隆（Aisha Sabatini SloanNewsweek，一个迷人的女人与他们成为朋友。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，”黛博拉·兰道（Deborah Landau）的诗。
Rachel Cusk照片由作者提供。