加里·印第安纳（Gary Indiana）开始出版小说时已年近三十，这可能是他广泛副业的原因。多年来，他为戏剧、卡巴莱和阿瑟影院创作和表演。从1985年到1988年，他每周都会猛烈抨击艺术界的自命不凡，称自己是《纽约时报》的评论家乡村之声现在他自己也是一名艺术家：他的一个视频作品，斯坦利公园（2013）出现在2014年的惠特尼双年展上，是在古巴一座监狱的废墟中被枪杀的。自90年代末以来，印第安纳州一直访问古巴。这部作品以黑色喜剧影响左翼政治，包括约瑟夫·冯·斯特恩伯格1941年的情节剧片段上海姿态. 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，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àclef在黑暗中做任何事(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年），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），以及卑鄙的日子（2018），一本厚厚的书语音柱。《七个故事》出版社已重新出版Horse Crazyand Indiana’s second novel,明天就走(1993), and will put out a collection of his essays,火灾季节, in 2022. These days he often meets young people who tell him they love his books.
这次采访始于巴黎的一家小酒馆，印第安纳州在阿尔勒拜访了他的朋友、画家劳拉·欧文斯后在那里停了下来。它结束于第十一街的六层步行街，他从80年代起就在那里生活和工作。1981年，帕蒂·阿斯特（Patti Astor）的趣味画廊（Fun Gallery）在这栋楼的地下室开业，现在这里有一位通灵师。除了厨房的书架，从地板到天花板的书架占据了公寓的每一面墙；他目前正在床边的鸡尾酒手推车上阅读。当我拿起关于Gérard Lebovici遇刺案的思考盖伊·德博德说他喜欢德博德的“酒鬼风格”；我发现了两份阿米里·巴拉卡的但丁地狱的系统. 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.”
In Christoph Schlingensief’s恐怖主子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黄色媒体中的道林·格雷形象.我扮演间谍，总是穿着俗气的巴伐利亚服装。
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 at八小时不一天, 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’s希望的原则.他还强迫我排练，但效率较低错误的喜剧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.
艾莎·萨巴蒂尼·斯隆（Aisha Sabatini Sloan）在为该播客特别委托撰写的一篇文章中描述了她与父亲莱斯特·斯隆（Lester Sloan）在巴黎漫步的情景。莱斯特·斯隆是一名长期从事摄影工作的摄影师Newsweek和一个与他们成为朋友的迷人女人。摘自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·兰道的一首诗。