Gary Indiana Livres

Focusing on the life of a notorious figure, this narrative artfully explores the rise and fall of the party boy who gained infamy for the murder of fashion icon Gianni Versace. Through a sardonic lens, the book delves into themes of celebrity culture, the fleeting nature of fame, and the complexities of identity, offering a compelling look at how one tragic event can alter the trajectory of a life and captivate the media.

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 thriller which opens with a grisly, intimate double murder and quickly fans out through the boulevards and freeways of a twilight world that is L.A.

"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 dark yet compassionate comedy of art aspirations and friendships come to naught. First published in 2003, Gary Indiana’s turn-of-the-millennium novel traces the lives of a loosely connected group of New York artists and the dissolution of their scene. During the summer of 2001, the narrator of Do Everything in the Dark, a gallery curator, receives intermittent dispatches from his far-flung friends—many of whom resemble well-known figures in the art and intellectual worlds—who are spread out across the globe, from Istanbul to Provincetown to Santa Fe. Seeking various reprieves from a changed New York, the long-festering, glossed-over incompatibilities of these aging bohemians blossom into exotic and unbearable relief. Beneath the contemporary excesses Indiana chronicles, we can see the outlines of the earlier New York bohemia captured by Dawn Powell. Arguably Indiana’s most intimate, internal, and compassionate work to date, Do Everything in the Dark is a chilling chronicle of madness and failure, success and disappointment, and the many ways love dies in a world people find increasingly unlivable.

Cameron Jamie's calling is tracking down extreme social phenomena and presenting them in short documentary films. His best known film, BB , documents "backyard wrestling" among working-class kids in his native San Fernando Valley. In Spook Houses , he explores a suburban Chicago community that takes a little too much pleasure in the macabre at Halloween, transforming front lawns into cemeteries and kitchens into mausoleums. And in Kranky Claus, a film about Krampus rituals in Austria, he accompanies those legendary demons on their nightmarish pre-Christmas tour, thrashing frightened children. As Jamie says of his subjects and as he proves to his audiences, "The creepiest things in the world are always the things that are considered to be the most OEormal.'"

The long-awaited memoir from one of the most acclaimed radical writers in American literature.

Exploring the unlikely ascent of a former bodybuilding champion and gay pinup to political power, this travelogue delves into the intertwining of celebrity culture and American politics. It offers a sharp critique of Arnold Schwarzenegger's journey, highlighting the unsettling consequences of his rise as he took control of California's economy. Through humor and insight, the narrative reveals the complexities of fame and governance, prompting reflection on the implications of celebrity influence in political realms.

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