Publisher: Coffee House Press
Artist(s): Felix Gonzalez-Torres
Contributor(s): T Fleischmann
Publication Date: June 4, 2019
Dimensions: 5 X 7.75 inches
W.G. SEBALD MEETS MAGGIE NELSON IN AN AUTOBIOGRAPHICAL NARRATIVE OF EMBODIMENT, VISUAL ART, HISTORY, AND LOSS.
How do the bodies we inhabit affect our relationship with art? How does art affect our relationship to our bodies? T Fleischmann uses Felix Gonzalez-Torres’s artworks—piles of candy, stacks of paper, puzzles—as a path through questions of love and loss, violence and rejuvenation, gender and sexuality. From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.
ABOUT THE AUTHOR
T Fleischmann is the author of Syzygy, Beauty and the curator of Body Forms: Queerness and the Essay. A nonfiction editor at DIAGRAM and contributing editor at Essay Daily, they have published critical and creative work in journals such as the Los Angeles Review of Books, Fourth Genre, Gulf Coast, and others, as well as in the anthologies Bending Genre, How We Speak to One Another, Little Boxes, and Feminisms in Motion.
PRAISE FOR TIME IS THE THING A BODY MOVES THROUGH
Winner of the 2019 Lambda Literary Award for Transgender Nonfiction
Finalist for the 2019 Big Other Book Award in Nonfiction
“Both provocatively and evocatively written, the book illuminates the process of becoming.” —Kirkus
“A perceptive and compassionate narrative that beautifully breaks with the limits of genre and gender.” —Publishers Weekly
"Fleischmann is not only staking out but literally inventing a territory of their own." —Los Angeles Times
“This is a book about paying attention and sometimes failing to, about showing the ways in which attention, no matter how well focused, can be or feel insufficient. Fleischmann is not wringing their hands but instead leaning into the world, constantly pressing at the corners of language . . . Watchful of its context and position, this book is able to pose increasingly...