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Horse Crazy
"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.
Depraved Indifference
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. 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 ...
I Can Give You Anything But Love
The long-awaited memoir from one of the most acclaimed radical writers in American literature. Described by the London Review of Books as one of “the most brilliant critics writing in America today,” Gary Indiana is a true radical whose caustic voice has by turns haunted and influenced the literary and artistic establishments. With I Can Give You Anything but Love, Gary Indiana has composed a literary, unabashedly wicked, and revealing montage of excursions into his life and work—from his early days growing up gay in rural New Hampshire to his escape to Haight-Ashbury in the post–summer-of-love era, the sweltering 1970s in Los Angeles, and ultimately his existence in New York in t...
Do Everything in the Dark
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.
Environmental Inequalities
By examining environmental change through the lens of conflicting social agendas, Andrew Hurley uncovers the historical roots of environmental inequality in contemporary urban America. Hurley's study focuses on the steel mill community of Gary, Indiana, a city that was sacrificed, like a thousand other American places, to industrial priorities in the decades following World War II. Although this period witnessed the emergence of a powerful environmental crusade and a resilient quest for equality and social justice among blue-collar workers and African Americans, such efforts often conflicted with the needs of industry. To secure their own interests, manufacturers and affluent white suburbanites exploited divisions of race and class, and the poor frequently found themselves trapped in deteriorating neighborhoods and exposed to dangerous levels of industrial pollution. In telling the story of Gary, Hurley reveals liberal capitalism's difficulties in reconciling concerns about social justice and quality of life with the imperatives of economic growth. He also shows that the power to mold the urban landscape was intertwined with the ability to govern social relations.
Lost Gary, Indiana
A poster child for our nation's urban experimentation a century ago, Gary was forged with hype and hope, dreams and sweat, political agendas and tons of steel. The hardscrabble city attracted all kinds, from shady scoundrels and famous architects to hardworking immigrants and brilliant entrepreneurs. Boasting 180,000 residents at its peak, the booming melting pot eventually faded away under the afflictions of urban decay, racial unrest and political upheaval. Jerry Davich explores the remnants of Gary's glory days, from Union Station in ruins to City Methodist Church stripped of its soul. Revisit the Sheraton Hotel's demise, Emerson High School's hard lessons, Vee-Jay Records' last release and a devastated downtown filled only with façades and fond memories.
Vile Days
Gary Indiana's collected columns of art criticism from the Village Voice, documenting, from the front lines, the 1980s New York art scene. In 1985, the Village Voice offered me a job as senior art critic. This made my life easier and lousy at the same time. I now had to actually enter all those galleries instead of peeking in the windows. At times, the only tangible perk was having the chump for a fifth of vodka whenever twenty more phonies had flattered my ass off in the course of a working week. —from Vile Days 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 thos...
Gary, Indiana
This book was written to bring attention to trends with possible solutions offered to build a more sustainable community. Gary Indiana was the focal point of this initial publication.
