Gary Indiana

Hailed by The Guardian as “one of the most important chroniclers of the modern psyche,” Gary Indiana is the author of a darkly satirical trilogy set in Southern California during the late 1990s: Resentment,Depraved Indifference and Three Month Fever: The Andrew Cunanan Story. His 2008 novel Shanghai Gesture was praised by Bookforum as “structured delirium . . . an aesthete’s hallucinatory folktale.” He is also the author of two collections of essays, Utopia’s Debris and Let It Bleed. Indiana teaches philosophy and literature at the New School in New York City.

Vile Days

By Gary Indiana
Edited by Bruce Hainley

From March 1985 through June 1988 in The Village Voice, Gary Indiana reimagined the weekly art column. Thirty years later, Vile Days brings together for the first time all of those vivid dispatches, too long stuck in archival limbo, so that the fire of Indiana’s observations can burn again. In the midst of Reaganism, the grim toll of AIDS, and the frequent jingoism of postmodern theory, Indiana found a way to be the moment’s Baudelaire. He turned the art review into a chronicle of life under siege.

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Depraved Indifference

By Gary Indiana
Introduction by A. S. Hamrah

She collected future marks like lottery tickets. She operated by reflex. Any public room was a pristine harvest of human information. Not just business cards, phone numbers, fax numbers and the like, but weaknesses, quirks, character flaws, delusional ambitions, risky dreams, medical problems, shaky marriages. Everybody came equipped with a panel of invisible buttons…. If you had the right touch, if you knew how to press one button lightly and another button with a bit more force, you could make the emotional side of a person swing up and down as you wished.—from Depraved Indifference

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ThreeMonthFeverThree Month Fever

The Andrew Cunanan Story

By Gary Indiana
Introduction by Christopher Glazek

First published in 1999, Gary Indiana’s Three Month Fever is the second volume of his famed crime trilogy, now being republished by Semiotext(e). (The first, Resentment, reissued in 2015, was set in a Menendez trial-era L.A.) In this brilliant and gripping hybrid of narrative and reflection, Indiana considers the way the media’s hypercoverage transformed Andrew Cunanan’s life “from the somewhat poignant and depressing but fairly ordinary thing it was into a narrative overripe with tabloid evil.”

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resentmentResentment

By Gary Indiana
Introduction by Patrick McGrath
Afterword by Chris Kraus

In Resentment, Seth, a New York–based writer arrives in Los Angeles (where he has history and friends) in mid-August, 1994, to observe what will become the marathon parricide trial of the wealthy, athletic, and troubled Martinez brothers, broadcast live every day on Court TV. Still reeling from the end of his obsessive courtship of a young SoHo artist/waiter, Seth moves between a room at the Chateau Marmont and a Mount Washington shack owned by his old cab-driving, ex-Marxist friend, Jack, while he writes a profile of Teddy Wade—one of the era’s hottest young actors, who has “dared” to star as a gay character in a new Hollywood film

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12-Gary-Indiana-A-Significant-LossA Significant Loss

by Gary Indiana

I’m not sure exactly when it became the automatic habit of dominant media to translate life itself into dollar figures as the first response to impending catastrophe, but as things stand, a significant loss of human life is invariably measured according to the resulting disrup- tion of the capitalist economic order. The news that “investors must pay attention” is our way of affirming that money is the same thing as oxygen, “not yet” the standard exercise in magical thinking that lets us pretend we are not already living beyond the fatal tipping point, in the depths of the fait accompli.

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Last Seen Entering the Biltmore

Plays, Short Fiction, Poems 1975–2010

By Gary Indiana

Before publishing his celebrated first novel, Horse Crazy, in 1987, Gary Indiana wrote and directed twelve plays for an informal company whose performers included the painter Bill Rice, composer Evan Lurie, the poet George-Therese Dickenson, writer and film actress Cookie Mueller, Warhol superstar and painter Viva, writer Victoria Pedersen, singer/actress Sharon Niesp, photographer Allen Frame, the legendary Taylor Mead, novelist Larry Mitchell, and others. Performed at the Mudd Club, Club 57, The Performing Garage, and Bill Rice’s E. 3rd Street studio, Indiana’s plays offered a kind of community theater for New York’s underground.

This volume presents highlights of that repertoire, including Alligator Girls Go to College, The Roman Polanski Story, and Indiana’s script for Michel Auder’s videofilm A Coupla White Faggots Sitting Around Talking, accompanied by archival performance photographs and selections from Indiana’s contemporaneous journals and poems. These hilarious, incisive writings and scripts evoke a vivid and accurate portrait of writers and artists in the lower Manhattan of the 1980s—arguably America’s last avant-garde—and anticipates Indiana’s impressive subsequent literary career.

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