Gary Indiana joins Hard to Read host Fiona Alison Duncan at the Standard, Hollywood for a night of readings, talk, and cinema. Indiana and Duncan will be celebrating the re-release of Indiana's first two novels, Horse Crazy and Gone Tomorrow, from Seven Stories, and the collection of his Village Voice art columns, re-issued as Vile Days by Semiotext(e).
After the reading in the Cactus Lounge, Duncan and Indiana will host a screening of a film chosen by Indiana: Michael Haneke’s 2017 Happy End, starring Isabelle Huppert and Jean-Louis Trintignant.
6.30pm Doors
7.00pm Readings + discussion
8.30pm Screening
About 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 Crazytells 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.
About Gone Tomorrow: 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 Tomorrowis 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.”