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，The 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, 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）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), a thick book of hisVoicecolumns. Seven Stories Press has republished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.
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。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。”
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?
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.
In Valie Export’sThe Practice of Love, you’re screaming in a bathrobe.
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The Image of Dorian Gray in the Yellow Press。I played a spy, always in a kitschy Bavarian costume.
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?
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Eight Hours Don’t Make a Day，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 rehearseThe Comedy of Errors在Schlegel Pre-Schlegel德语翻译上几个月。他聘请了一个对话教练，这是一个在电视上的一些侦探系列中的一位倒风的演员，他真的讨厌了我。他将通过苛刻的每次会议前言，“为什么Werner Schroeter让你，一位美国人，在弗雷弗莱克斯·努恩那里做这件事，当你甚至不会说德语时？”当窗帘上升时，我就是在正确的讲话。我会告诉Werner，“我无法学习德语，我不能，”他会说，“任何人都可以学习德语。”最后，我辞职了，他后来很久就生气了很长时间。当我回到柏林观看生产时，他会把整个演讲减少到三行。我很容易完成它。
From the Archive, Issue 238
Aisha Sabatini Sloan
Episode 22: “Form and Formlessness”
In an essay specially commissioned for the podcast, Aisha Sabatini Sloan describes rambling around Paris with her father, Lester Sloan, a longtime staff photographer for新闻欢呼, and a glamorous woman who befriends them. In an excerpt from小说艺术没有。246.，Rachel Cusk和Sheila Heti讨论了她的第一部小说有助于令人帮助的气象，发现她的“形状或身份或本质”。接下来，Allan Gurganus对他的故事的阅读“它有翅膀“关于在她的后院找到一个堕落天使的关节炎女人，穿插着由作曲家Bruce Saylor作为一个单人歌剧的故事中的一个版本。这一集结合了“Dear Someone,” a poem by Deborah Landau.