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.

Originally published in 1997, Resentment was the first in Gary Indiana's now-classic trilogy (followed in 1999 byThree 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.

Fiction. Faced with photos of a once- tumultuous New York art world, the narrator's mind in this scathing, darkly funny novel begins to erupt. Memories jostle for center stage, just as those that they are about always did. These brilliant but broken survivors of the '80s and '90s have now reached the brink of middle age and are facing the challenge of continuing to feel authentic. Luminous with imagery, cackling with bitter humor, and with a new foreword by the author, this roman à clé spares no one. It's a canny portrait of one era's vaporization, and a study of the perpetual need that some of us feel to reconstruct ourselves—atom by atom.

"With scrupulously intense sentences—pitch- perfect, pitch-dark—Indiana conjures a hugely sad New York novel that feels at once state-of-the-art and stunningly ancient."—The Believer

"...a great book—melancholic and funny and wicked smart..."—Michael Miller

"...some of the best prose of his career."—Publishers Weekly

"Gary Indiana delves into the minds of his creepy, appalling characters with such probing wit and lip-smacking glee that we actually enjoy our time with these amoral monsters."—John Waters

The most highly publicized of the infamous Young British Artists, Emin has stirred as much controversy as she has acclaim, being both highly personal and extremely original in her art. Emin's work is engaging, titillating, disturbing, and startlingly confessional. One of her most famous pieces is Everyone I Ever Slept With 1963-1995, a tent appliquéd with names. Another notorious work, My Bed—the scene where she spent four days contemplating suicide—was exhibited at Tate Britain when the artist was short-listed for the Turner prize in 1999. Though denounced by conservative critics at the outset, Emin's work has attracted serious critical attention for more than a decade. In the words of Art in America, 'What brought Emin to prominence was shock value, but what keeps her work powerful as she continues is the strength and nuance of its form and content.' Compiled in close collaboration with the artist herself—and unprecedented in its scope—this is the definitive book on Emin, featuring drawings, paintings, sculptures, appliqués and embroideries, neon and video stills as well as her own writing.

Un ragazzo filippino (di madre siciliana) si vergogna della propria nazionalità e della propria bassa estrazione sociale; a scuola, in California, si fa passare per un nobile di origine portoghese. È bello, è molto intelligente, è omosessuale. Ricercatissimo nelle feste, comincia a farsi pagare per le sue prestazioni; amanti ricchi, vestiti firmati, droga, macchine di lusso. Ma qualcosa non va nella sua testa. Si innamora di un ragazzo di Minneapolis, un banale impiegato, con cui si abbandona a giochi sadomaso; il 'giro' lo abbandona, comincia ad avere problemi economici. Senza capire come, né perché, uccide il povero ragazzo che ama. Da lì partono i 'tre mesi di febbre' di cui parla questo libro: Andrew Cunanan, il giovane e bel filippino, diventa un temuto assassino seriale, degli uomini ricchi (i 'maschi alfa') che ha conosciuto e che a suo tempo lo hanno aiutato. La sua ultima vittima, però, è un uomo che lui forse non ha conosciuto mai, lo stilista italiano Gianni Versace. Forse ha voluto uccidere l'icona di successo, il rappresentante di quel glamour internazionale che ha sempre invidiato. O forse le ragioni erano più misteriose, non lo sapremo mai: Cunanan viene ucciso dalla polizia dentro una casa galleggiante, in circostanze cbe lasciano più di un dubbio. Che qualcuno, magari, abbia voluto farlo tacere. Gary Indiana, più che insistere sul giallo, ci offre un ritratto veritiero e impietoso della fragilità umana di un serial killer, e della 'società delle apparenze' che lo circonda.

Before publishing his celebrated first novel, Horse Crazy, in 1987, Gary Indiana wrote and directed twelve plays for an informal company whose performers included the painter Bill Rice, composer Evan Lurie, the poet George-Therese Dickenson, writer and film actress Cookie Mueller, Warhol superstar and painter Viva, writer Victoria Pedersen, singer/actress Sharon Niesp, photographer Allen Frame, the legendary Taylor Mead, novelist Larry Mitchell, and others. Performed at the Mudd Club, Club 57, The Performing Garage, and Bill Rice's E. 3rd Street studio, Indiana's plays offered a kind of community theater for New York's underground.This volume presents highlights of that repertoire, including Alligator Girls Go to College, The Roman Polanski Story, and Indiana's script for Michel Auder's videofilm A Coupla White Faggots Sitting Around Talking, accompanied by archival performance photographs and selections from Indiana's contemporaneous journals and poems. These hilarious, incisive writings and scripts evoke a vivid and accurate portrait of writers and artists in the lower Manhattan of the 1980s--arguably America's last avant-garde--and anticipates Indiana's impressive subsequent literary career.

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 Lautréamont 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 Décembre, 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.

Introduction by Nancy M. Doll. Text by Xandra Eden, Gary Indiana.

A mysterious bout of narcolepsy has overtaken the seaside hamlet of Land's End, a funk endemic to the region since the wreckage a century earlier of the ship The Ardent Somdomite. Inspector Weymouth Smith and unconvinced cohort Dr. Obregon Petrie attempt to thwart Fu Manchu's latest ploy for world domination while confronting South American piyas, matching wits with a clubfooted ex-STASI, as well as battling the latest technological crazes and their own drug dependencies.
The Shanghai Gesture is not a genre farce, but a compelling tale that merges the author's trademark eye for social satire with the poetic sensibilities of his previous novels.

Don Celestino is old and bitter and afraid, an impossible man. An anarchist who has been in exile from his native Spain for more than twenty years, he lives with his daughter in Paris, but in his mind he is still fighting the Spanish Civil War. He fulminates against the daily papers; he brags about his past exploits. He has become bigoted, self-important, and obsessed; a bully to his fellow exiles and a tyrant to his daughter, Pascualita.

Then a family member dies in Madrid and there is an inheritance to sort out. Pascualita wants to go to Spain, which is supposedly opening up in response to the 1960s, and Don Celestino feels he has no choice but to follow. He is full of dread and desire, foreseeing a heroic last confrontation with his enemies, but what he encounters instead is a new commercialized Spain that has no time for the past, much less for him. Or so it seems. Because the last act of Don Celestino’s dizzying personal drama will prove that though “there is nothing serious . . . , there is tragedy.”

An astonishing modern take on Don Quixote, Chaos and Night untangles the ties between politics and paranoia, self-loathing and self-pity, rage and remorse. It is the darkly funny final flowering of the art of Henry de Montherlant, a solitary and scarifying modern master whose work, admired by Graham Greene and Albert Camus, is sure to appeal to contemporary readers of Thomas Bernhard and Roberto Bolaño.

Gary Indiana's essays, like his fiction, take no prisoners. In his fifteen years of writing cultural criticism, he has altered the way we look at ourselves and our society. Ignoring good taste, Indiana writes discomforting home truths, because his views of home are unique and never comfortable. His insights are acute, brash, bracing, intelligent; his subjects and speculations range from Rodney King's beating to Mary McCarthy's friendship with Hannah Arendt to the presidential campaign of 1992. Let it Bleed collects for the first time some of the most engaging, provocative, and exciting writing that has been seen and produced in a long time.