Bøger af Gary Indiana

"This story, if it is one, deserves the closure of a suicide, perhaps even the magisterial finality of what is usually called a novel, but the remnants of that faraway time offer nothing more than a taste of damp ashes, a feeling of indeterminacy, and the obdurate inconclusiveness of passing time." So writes the unnamed narrator of Horse Crazy, looking back on a season of madness and desire. The first novel from the brilliant, protean Gary Indiana, Horse Crazy tells the story of a thirty-five-year-old writer for a New York arts and culture magazine whose life melts into a fever dream when he falls in love with the handsome, charming, possibly heroin-addicted, and almost certainly insane Gregory Burgess. In the derelict brownstones of the Lower East Side in the late eighties, among the coked out restauranteurs and art world impresarios of the supposed "downtown scene," the narrator wanders through the fog of passion. Meanwhile, the AIDS epidemic is spreading through the city, and New York friendships sputter to an end. Here is a novel where the only moral is that thwarted passion is the truest passion, where love is a hallucination and the gravest illness is desire.

"A literary, unabashedly wicked, revealing montage of Gary Indiana's life-from his early days growing up gay in rural New Hampshire to his escape to the Haight-Ashbury in the post-summer-of-love era, to the sweltering 1970s in Los Angeles, a stint living in Havana, Cuba, and ultimately his existence in New York in the 1980s as a bona fide downtown personality. Here is his fierce writing style, his merciless eye trained on himself this time, a mixture of humor, philosophy and gut-wrenching realism that defies easy categorization"--

Whether he''s describing Tracy Emin or Warhol, the films of Barbet Schroeder (''Schroeder is well aware that life is not a narrative; that we impose form on the movements of chance, contingency, and impulse....'') or the installations of Barbara Kruger (''Kruger compresses the telling exchanges of lived experience that betray how skewed our lives are...''), Indiana is never just describing. Few writers could get away with saying the things Gary Indiana does. And when the writing is this good, it''s also political, plus it''s a riot of fun on the page.

2022 NEW YORK TIMES NOTABLE BOOKThe novelist, cultural critic, and indie icon serves up sometimes bitchy, always generous, erudite, and joyful assessments from the last thirty-five years of cutting edge film, art, and literature.“One of the most important chroniclers of the modern psyche.” —The GuardianIntroduction by Christian LorentzenWhether he’s describing Tracy Emin or Warhol, the films of Barbet Schroeder (“Schroeder is well aware that life is not a narrative; that we impose form on the movements of chance, contingency, and impulse....”) or the installations of Barbara Kruger (“Kruger compresses the telling exchanges of lived experience that betray how skewed our lives are…”), Indiana is never just describing. His writing is refreshing, erudite, joyful.Indiana champions shining examples of literary and artistic merit regardless of whether the individual artist or writer is famous; asserts a standard of care and tradition that has nothing to do with the ivory tower establishment; is unafraid to deliver the coup de grâce when someone needs to say the emperor has no clothes; speaks in the same breath—in the same discerning, insolent, eloquent way—about high art and pop culture. Few writers could get away with saying the things Gary Indiana does. And when the writing is this good, it’s also political, plus it’s a riot of fun on the page.Here is Gary Indiana on Euro Disney resort park in Marne-la-Valée outside of Paris:John Berger compares the art of Disney to that of Francis Bacon. He says that the same essential horror lurks in both, and that it springs from the viewer’s imagining: There is nothing else. Even as a child, I understood how unbearable it would be to be trapped inside a cartoon frame.

The third of Gary Indiana's famed crime trilogy tells a story inspired by the virtuoso con artistry of mother-and-son criminals Sante and Kenneth Kimes.

Footloose and broke, the unnamed narrator of Gone Tomorrow hops on a plane without asking questions when his director friend offers him a role in an art film set in Colombia. But from the moment he arrives at the airport in Bogotá, only to witness a policeman beat a beggar half to death, it becomes clear that this will not be the story of gritty bohemians triumphing against the odds. The director, Paul Grosvenor, seems more interested in manipulating his cast than in shooting film. The cult star, Irma Irma, is a vamp too bored and boring to draw blood. And the beautiful, nymph-like Michael Simard doesn’t seem to be putting out. Meanwhile, the film’s shady financier is sleeping with his mother, while a serial killer skulks about the area killing tourists. Everything comes to a head when the carnaval celebration begins in nearby Cali. But once the fiesta is over, all that’s left are ghostly memories and the narrator’s insistence on telling the tale. “Unlike the majority of pointedly AIDS-era novels,” writes Dennis Cooper, “Gone Tomorrow is neither an amoral nostalgia fest nor a thinly veiled wake-up call hyping the religion of sobriety. It’s a philosophical work devised by a writer who’s both too intelligent to buy into the notion that a successful future requires the compromise of collective decision and too moral to accept bitterness as the consequence of an adventurous life.”

A sardonic and artful reconstruction of the brief life of the party boy who became a media sensation for shooting Gianni Versace.

From the California recall circus, in which Gary Coleman, Larry Flynt, and Arianna Huffington vied with over 100 other candidates to replace a supposedly inept governor, Arnold Schwarzenegger emerged triumphant.

Previously unpublished plays and writings by one of today's foremost satirical authors.