在春天，他们成熟并撒上树木，
the waxy little fruits that resemble bald heads.
我收集他们的遗体：piebald，甜蜜
和酸味。糖浆由枇杷制成
is said to cure cough. Their woolly twigs
splinter in pear blight. I am bereft
when I eat them all. My throat and heart
总是疼痛。每当我生病的时候，我的母亲
习惯了肤色的黄色枇杷，但他们品尝了
皮肤更好。本赛季，我的咳嗽
生长和生长。有一棵树或真菌
在我的胸前。我曾经在空洞中吻了一个男人。
这tricky historiography of war, reflections on Ukraine, and new forms of musical time.
版权©.劳拉欧文斯。
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Village Voice, and he is now an artist himself: one of his video pieces,斯坦利公园(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 melodrama这Shanghai Gesture。1951年，一群超现实主义者在这部电影的场景中沿着精致的尸体游戏，成为印第安纳2009年新颖的一部灵感之一，这Shanghai Gesture。印第安纳州的小说采取了许多形式真正的犯罪，帕卡雷西克，黑色，哀悼 - 但所有的都是由他无情的敏感性的引擎驱动。他的角色通过迷人和剥削的迷恋;残酷是一个中心主题。
Indiana’s first novel,马疯了（1989年），在一个纽约的令人悲惨的爱情中造成一个悲惨的爱情艾滋病，并担任撒上偷看的七十年代和八十年代波希米亚被称为“市中心”，印第安纳州的一部分和拒绝魅力;他的罗马àclefDo Everything in the Dark（2003）是那个Milieu的碎片。过去几年已经看到了一种印第安纳文艺复兴。SemioText（e）重新发出了他的美国犯罪三部曲，Resentment: A Comedy（1997），三个月发烧(1999), andDepraved Indifference（2001） - 遇到了一个着名的谋杀案，但最终是关于内在痛苦与大众妄想碰撞 - 并发表了一卷早期扮演，短小说和诗歌最后看到进入biltmore(2010), as well asVile Days（2018），一本厚厚的书语音列。七个故事新闻已重新发布马疯了和印第安纳州的第二个小说，Gone Tomorrow（1993），并将举办一系列散文，Fire Season，在2022年。这几天他经常遇到那些告诉他他们爱他的书的年轻人。
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.
This interview began at a bistro in Paris, where Indiana 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’s这System of Dante’s Hell。更多的书籍总是到达，在加里霍州顿的包裹中，当他出生时，在1950年出生时给了他的名字，在新罕布什尔州德里。他有理由后悔他在突发事件中选择的假名。“哦，嗨，”约翰阿什贝利在介绍时说。“我是Lowell Massachusetts。”
面试官
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
我没有接受过培训，我当然没有专业的技术。由于我的方式，董事会给我一个，而不是我能假装的方式。衣柜通常会有一半的工作。我更有一种特殊效果 - 他们想要我的个性，或者我是如何看待时间的。当我表演时，我有 - 这可能会有所作为，我喝了多少 - 一种恶魔放弃的质量。
面试官
In Valie Export’s爱的做法，你在浴袍尖叫。
印第安纳州
在Christoph Schiningensief的恐怖主子2000.，我也只是尖叫，主要是。这是我更大的角色之一。这部电影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，UDO凯尔是一群恐怖分子的主管。他们在火车上迸发出来，我正在唱这首歌的欢迎，他用机枪射击我。
面试官
你认真对行动吗？
印第安纳州
我喜欢这样做。好玩。我得去欧洲，用很多真正的神话般的人闲逛，我会欣赏我的一生，如Delphine Seyrig。她和我见过乌尔特里斯特的电影这Image of Dorian Gray in the Yellow Press。I played a spy, always in a kitschy Bavarian costume.
面试官
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?
印第安纳州
我一直行动我也在写作。我总是在董事周围 - 我会采访一些出版物或做一些写作或者我认识社交的人。我从他们那里派生了我的敏感性，尤其是福斯邦德。他对他的看法有一个无情的现实主义。如果你看八小时不一天，您可以看到他非常激进了社会如何更好地安排的愿景。人们认为他的电影是愤世嫉俗的，但他们不是 - 他们描绘了一个真正激怒他的愤世嫉俗的社会秩序。
我也有很多来自斯普勒。真正神奇的人。Werner不得不读到所有三个历史的Ernst Bloch希望的原则。He also obliged me, less productively, to rehearse错误的喜剧在德国pre-Schlegel翻译好几个月。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.
Rachel Cusk photo courtesy the author.
Subscribe for free:Stitcher|Apple Podcasts|Google Play
