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A beloved memoir from Gary Indiana—one of the most acclaimed radical writers in American literature—whose graphic, funny, and caustic voice has by turns haunted and influenced the literary and artistic establishments. "A graphic and funny memoir, [I Can Give You Anything But Love] finds Indiana reinventing yet another genre - this time using his own personal narrative. He becomes the connective tissue that binds together a diaspora of subcultu...

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A noir tour-de-force set in the world of hustlers from "one of America's darkest and funniest chroniclers." (The Guardian)It's New York City, 1981, and everyone wants to be at the Emerson Club, from Cindy Crawford to Cindy Adams, from Famous Roger, one-time lion of the talk shows, to Sandy Miller, the "downtown" writer with the tattoos and the leather, from Lauren Hutton to the art star who does the thing with the broken plates. Everyone, that...

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 ...

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 Gar...

One of the most important chroniclers of the modern psyche." -The Guardian The 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. 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 ch...

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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.

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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.

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 manip...

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 Indi...

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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.

A portrayal of Andrew Cunanan, who murdered Gianni Versace, and the factors which caused his actions.

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