Copyright©劳拉·欧文斯（Laura Owens）。

Gary Indiana was in his late thirties by the time 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 theVillage Voice, and he is now an artist himself: one of his video pieces,Stanley Park(2013), which appeared in the 2014 Whitney Biennial, was shot in the ruins of a prison in Cuba, a country Indiana has visited since the late nineties. The piece, which inflects left-wing politics with black comedy, includes a snippet of Josef von Sternberg’s 1941 melodramaThe Shanghai Gesture。1951年，一群超现实主义者在一部精美的尸体游戏中从那部电影中的场景中重新开始，这成为印第安纳州2009年小说的灵感之一The Shanghai Gesture。印第安纳州的小说采取了多种形式 - 真实的犯罪，picaresque，noir，哀叹 - 但所有人都受到他无情的敏感性引擎的驱动。他的角色通过欺骗和剥削的迷宫冲刺；残酷是中心主题。

Indiana’s first novel,疯狂的马（1989年），在纽约的一场痛苦的恋情中陷入了困境艾滋病, 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 clefDo Everything in the Dark（2003年）是那个环境的破裂。在过去的几年中，印第安纳州的复兴。Semiotext（E）重新发行了他的美国犯罪三部曲，Resentment: A Comedy(1997),三个月发烧(1999), andDepraved Indifference（2001年） - 涉及一个著名的谋杀案，但最终是关于当内在的痛苦与大规模妄想碰撞时发生的事情 - 并发表了大量的早期作品，短篇小说和诗歌，最后一次看到Biltmore(2010), as well asVile Days(2018), a thick book of hisVoicecolumns. Seven Stories Press has republished疯狂的马印第安纳州的第二本小说，Gone Tomorrow（1993年），并将推出他的论文的集​​合，Fire Season，在2022年。这些天，他经常遇到年轻人，告诉他他们爱他的书。

A small man, Indiana makes prodigious use of his hands and arms, slicing the air for emphasis or illustrating an idea with a twirl of the wrist. He can conduct whole conversations in a mode of rich, elaborate irony, yet he’s also insistent in his opinions and extravagant in his disdain—a mix of prince and punk. Language comes blooming out of him without prompting and without reservation, and he delivers even the most offhand joke or anecdote with wicked relish. But he did not enjoy being interviewed. I suspect that the very enterprise—the pressure, the invasiveness, the sacramental grandiosity—smacks of a gilded literary culture to which he’s vigorously opposed. During our conversations he frequently broke off to deplore the way he thought he sounded. On one occasion, he took refuge in a long telephone call with a mutual friend of ours, counseling her about her Ambien dosage.

这次采访开始在巴黎的小酒馆,我ndiana made a stop after visiting his friend the painter Laura Owens in Arles. It ended in the sixth-floor walk-up on Eleventh Street where he has lived and worked since the eighties. The basement of the building, where Patti Astor’s Fun Gallery opened in 1981, now houses a psychic. Floor-to-ceiling bookshelves dominate every wall in the apartment, except for the kitchen’s; his current reading is on a cocktail trolley by the bed. When I picked upConsiderations on the Assassination of Gérard Leboviciby Guy Debord, he said he loved Debord’s “alcoholic style”; I spotted two copies of Amiri Baraka’sThe System of Dante’s Hell。始终有更多的书籍到达加里·霍辛顿（Gary Hoisington）的包裹，这是他出生于1950年在新罕布什尔州德里（Derry）出生时给他的名字。他有理由后悔他一时兴起的化名。“哦，嗨，”约翰·阿什贝里（John Ashbery）被介绍时说。“我是马萨诸塞州洛厄尔。”

INTERVIEWER

You belong to the category of writers who have also been actors, which includes Mae West and Sam Shepard. What were your strengths as an actor?

GARY INDIANA

我没有训练,我肯定没有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

In Valie Export’sThe Practice of Love, you’re screaming in a bathrobe.

INDIANA

在Christoph Schlingensief的Terror 2000，我也只是在尖叫。那是我更大的角色之一。这部电影是基于德国统一后发生的真实事件。我是一名社会工作者，帮助波兰难民解决，乌多·基尔（Udo Kier）是一群恐怖分子的负责人。他们冲上火车，我在那里唱这首欢迎歌曲，他用机枪射击了我。

INTERVIEWER

您是否认真对待表演？

INDIANA

我喜欢这样做。好玩。我必须去欧洲，与很多我一生的真正神话般的人一起闲逛，例如Delphine Seyrig。我和我在乌尔里克·奥丁（Ulrike Ottinger）的电影中遇到了The Image of Dorian Gray in the Yellow Press。I played a spy, always in a kitschy Bavarian costume.

INTERVIEWER

Rent Boy(1994) has an epigraph from Werner Schroeter, andGone Tomorrowtakes place on a film set. Some of your novels remind me of Rainer Werner Fassbinder. Did your work in film affect your writing?

INDIANA

我一直在表演我也在写作。我一直在董事身边 - 我接受了一些出版物或为社交认识的人提供一些出版物的人。我从他们那里获得了部分敏感性，尤其是从法斯宾德（Fassbinder）。他对事物的看法有着无情的现实主义。如果你看Eight Hours Don’t Make a Day，您可以看到他对如何更好地安排社会的愿景非常充满活力。人们认为他的电影是愤世嫉俗的，但事实并非如此 - 他们描绘了一个真正激怒了他的愤世嫉俗的社会秩序。

我也从施罗特那里得到了很多东西。一个真正神奇的人。沃纳（Werner）迫使我阅读恩斯特·布洛赫希望原则。He also obliged me, less productively, to rehearseThe Comedy of Errors在预先的德语翻译中，几个月。他为我聘请了一位对话教练，这是一位在电视上的侦探系列赛中的精灵演员，他真的很讨厌我。他会每次会议序言，要求“为什么沃纳·施罗特（Werner Schroeter）让您（美国人）在FreieVolksbühne上播放，当您甚至不说德语时？”当窗帘上升时，我要发表很长时间的演讲。我会告诉沃纳：“我不能学习德语，我不能学习，”他会说：“任何人都可以学习德语。”终于我辞职了，他很长一段时间以来对我生气。当我回到柏林观看作品时，他将整个演讲削减了三行。我很容易做到。