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A sardonic and artful reconstruction of the brief life of the party
boy who became a media sensation for shooting Gianni Versace.It was
suddenly chic to be "targeted" by Andrew.... It also became chic to
claim a deep personal friendship with Versace, to infer that one
might, but for a trick of fate, have been with Versace at the very
moment of his "assassination," as it had once been chic to reveal
one's invitation to Cielo Drive in the evening of the Tate
slayings, an invitation only declined because of car trouble or a
previous engagement... -from Three Month Fever 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." "America loves a successful
sociopath," Indiana explains. This sardonic and artful
reconstruction of the brief life of the party boy who became a
media sensation for shooting Gianni Versace is a spellbinding
fusion of journalism, social commentary, and novelistic projection.
By following Cunanan's notorious "trail of death," Indiana creates
a compelling portrait of a brilliant, charismatic young man whose
pathological lies made him feel more like other people-and more
interesting than he actually was. Born in a working-class exurb of
San Diego and educated at an elite private school, Cunanan strove
to "blend in" with the upscale gay male scene in La Jolla. He ended
up crazed and alone, eventually embarking on a three-month killing
spree that took the lives of five men, including that of Versace,
before killing himself in a Miami boathouse, leaving behind a range
of unanswerable questions and unsolvable mysteries. "Gary Indiana
belongs to a special breed of American urban writers who take cool
pleasure in dissecting the lives of the rich and ugly and is
possibly the most jaded chronicler of them all. On a good day, he
makes Bret Easton Ellis look like Enid Blyton, yet many, myself
included, think he might have already written the Great America
Novel(s)." -Christopher Fowler, The Independent
In a novel capturing an era that seems at once familiar and
grotesque, a New York writer lands in Los Angeles in
1994.Originally published in 1997, Resentment was the first in Gary
Indiana's now-classic trilogy (followed in 1999 by Three Month
Fever: The Andrew Cunanan Story and in 2003 by Depraved
Indifference) chronicling the more-or-less permanent state of
"depraved indifference" that characterized American life at the
millennium's end. 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. Studded throughout with scathing satirical
portraits of media figures, other writers, and the Martinez trial
teams, Resentment captures an era that seems, two decades later, at
once grotesque, familiar, and a precursor to our own.
ToWhom It May Concern is one of the final projects Louise Bourgeois
completed, and is an apt demonstration of the enduring power of her
work. Rich pinks, purples, reds and blues describe bodies
comprising swollen bellies, heavy breasts, engorged phalluses and
stooped torsos are presented in a series of pairings on facing
pages. Deceptively simple in design, the varying intensity and
range of colour within each figure reveals a dynamism in each
repeated coupling of these headless, limbless bodies: male and
female at their essential, and the relationship between the two,
changing but the same. Indiana's short, visceral but lyrical texts
are interspersed throughout and form a conversation with these
images, an unconventional non-narrative, part of a broader dialogue
about the barrier of flesh, about desire and intimacy. This
Violette Editions publication, developed in collaboration with The
Easton Foundation, faithfully reproduces in reduced size the
original large-format artists' book, made in fabric in an edition
of seven.
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 the 1980s as a bona fide
downtown personality. Interspersed throughout his vivid
recollections are present-day chapters set against the louche
culture and raw sexuality of Cuba, where he has lived and worked
occasionally for the past fifteen years. Connoisseurs will
recognize in this-his most personal book yet-the same mixture of
humor and realism, philosophy and immediacy, that have long
confused the definitions of genre applied to his writing. Vivid,
atmospheric, revealing, and entertaining, this is an engrossing
read and a serious contribution to the genres of gay and literary
memoir.
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Gone Tomorrow (Paperback)
Gary Indiana; Foreword by Sarah Nicole Prickett
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R403
R341
Discovery Miles 3 410
Save R62 (15%)
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Ships in 12 - 17 working days
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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 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. As a critic,
Indiana combines his novelistic and theatrical gifts with a
startling political acumen to assess art and the unruly
environments that give it context. No one was better positioned to
elucidate the work of key artists at crucial junctures of their
early careers, from Sherrie Levine and Richard Prince to Jeff Koons
and Cindy Sherman, among others. But Indiana also remained alert to
the aesthetic consequence of sumo wrestling, flower shows, public
art, corporate galleries, and furniture design. Edited and prefaced
by Bruce Hainley, Vile Days provides an opportunity to track
Indiana's emergence as one of the most prescient writers of his
generation.
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Coma (Paperback)
Pierre Guyotat; Introduction by Gary Indiana; Translated by Noura Wedell
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R495
Discovery Miles 4 950
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Ships in 12 - 17 working days
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A poetic exploration of trauma and renewal from the last
avant-garde visionary of the twentieth century. Long ago, in
childhood, when Summer reverberates and feels and throbs all over,
it begins to circumscribe my body along with my self, and my body
gives it shape in turn: the "joy" of living, of experiencing, of
already foreseeing dismembers it, this entire body explodes,
neurons rush toward what attracts them, zones of sensation break
off almost in blocks that come to rest at the four corners of the
landscape, at the four corners of Creation.-from Coma The novelist
and playwright Pierre Guyotat has been called the last great
avant-garde visionary of the twentieth century, and the near-cult
status of his work-because of its extreme linguistic innovation and
its provocative violence-has made him one of the most influential
of French writers today. He has been hailed as the true literary
heir to Lautreamont and Arthur Rimbaud, and his "inhuman" works
have been mentioned in the same breath as those by Georges Bataille
and Antonin Artaud. Winner of the 2006 prix Decembre, Coma is the
deeply moving, vivid portrayal of the artistic and spiritual crisis
that wracked Guyotat in the 1980s when he reached the physical
limits of his search for a new language, entered a mental clinic,
and fell into a coma brought on by self-imposed starvation. A
poetic, cruelly lucid account, Coma links Guyotat's illness and
loss of subjectivity to a broader concern for the slow, progressive
regeneration of humanity. Written in what the author himself has
called a "normalized writing," this book visits a lifetime of
moments that have in common the force of amazement, brilliance, and
a flash of life. Grounded in experiences from the author's
childhood and his family's role in the French Resistance, Coma is a
tale of initiation that provides an invaluable key to interpreting
Guyotat's work, past and future.
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