A sardonic and artful reconstruction of the brief life of the party boy who became a media sensation for shooting Gianni Versace.

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.

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 a cle spares no one.

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.

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 is, except Danny. Danny just works there, waiting tables to put himself through architecture school, turning tricks on the side. And when he's not on the clock, he's recording the sexual, aesthetic, and financial transactions that make up his life, in gruesome detail. But even a clever boy like Danny can wind up on the menu. Blinded by love for his fellow rent boy, Chip--as gorgeous as he is reckless—Danny is about to learn that there's more than one way to turn your body into cash, and that cynicism is no defense when the real scalpels come out. A gimlet-eyed crime novel with an inventively filthy mind, Rent Boy is Gary Indiana at his most outrageous—and his best.

A noir tour-de-force set in the world of hustlers from "one of America's darkest and funniest chroniclers." (The Guardian) 

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.

Indiana champions shining examples of literary and artistic merit regardless of whether the individual artist or writer is famous; asserts a standard of care and tradition that has nothing to do with the ivory tower establishment; is unafraid to deliver the coup de grãace when someone needs to say the emperor has no clothes; speaks in the same breath-in the same discerning, insolent, eloquent way-about high art and pop culture. Few writers could get away with saying the things Gary Indiana does. And when the writing is this good, it's also political, plus it's a riot of fun on the page

GARY INDIANA is a novelist and critic who has chronicled the despair and hysteria of America in the late twentieth/early twenty-first century. From Horse Crazy (1989), a tale of feverish love set against the backdrop of downtown New York amid the AIDS epidemic, to Do Everything in the Dark (2003), "a desolate frieze of New York's aging bohemians" ( n+1), Indiana's novels mix horror and bathos, grim social commentary with passages of tenderest, frailest desire. In 2015, Indiana published his acclaimed anti-memoir, I Can Give You Anything But Love, following it up in 2018 with Vile Days, a collection of his art criticism for the Village Voice. Called one of "the most brilliant critics writing in America today" by the London Review of Books, "the punk poet and pillar of lower-Manhattan society" by Jamaica Kincaid, and "one of the most important chroniclers of the modern psyche" by the Guardian, Gary Indiana remains both inimitable and impossible to pin down. 

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, this roman à clef 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.