• The State is the Thing Our Bodies Weaken
• Rosie Stockton (bio)

T Fleischmann's Time Is the Thing a Body Moves Through leaves you longing. It leaves you longing in a way that creates the feeling of absence, or excess, of something just out of the frame. The kind of longing that knows itself to persist despite an object-cause—whether that object is a crush or a stable sense of gender. And it is precisely in these spaces longing produces that T Fleischmann fills with an insistent and rigorous life structured around pleasure. Time Is the Thing a Body Moves Through is utterly consumed with and by pleasure: not simply describing the pleasure of being and loving with gender deviant bodies, but the production of that pleasure. In the production of this pleasure, Fleischmann resists the traditional form of the memoir as much as they indulge it. "I don't want to give any more of my touch to language. I just want language to generate more touch" they write. Through inscribing and uninscribing their gender, their lovers, their feelings of loss, longing, and closeness to fleeting notions of having, Fleischmann's book is a blueprint for a world that is always in flight of the forms of being that constrain us.

Time Is the Thing a Body Moves Through is a hybrid work structured by the pleasure and resistance that circulates in the relentless geometry of longing. Interweaving three distinct genres, Fleischmann [End Page 15] braids together a prose poem meditating on the artwork of Felix Gonzalez-Torres, a self-described daily writing practice of describing ice, and an autobiographical sex diary cum embodied theory machine. Always finding ways to take back public space, turn queer relationships into unidentifiable forms, get high and fuck in art galleries, Time Is the Thing paints a picture of queerness more interested in destroying capitalism and the state than solidifying itself as an identity category to be recognized and included in the popular imagination. The patchy narrative resists linearity, as friends bleed into lovers and back again, and relationships are always marked as much by geographic distance as distance from hetero norms, morphing as Fleischmann travels from rural Tennessee, to punk houses in Chicago, to museums in NYC in search of works by Gonzalez-Torres. Fleishmann's obsession with Gonzalez-Torres emerges out of a shared haunting by the loss of loved ones to the AIDS crisis and marks a mode of processing Fleischmann's own shifting relationship to the gay community through which they came into their sexuality. If dominant narratives of transness often look forward with the hope of approaching the feeling of being a "man "or "woman," and look back at the pain of a repressed childhood, Fleischmann is gentle with all the forms their body has taken as it moves through time.

In the spaces between the generic fractures of the book are where the decadence of feeling one's gender lies, before gender comes to swallows you. It's telling that Fleischmann invokes the suffocating monolith of gender identities in the same sentence as they pity the fascists: "I know how painful it is to be defined by something so large that it seems to swallow every bit of who you are." If gender norms and traditional forms of relations are here to swallow us, pin us down, make us dutiful citizens and efficient workers, Fleischmann's life and narrative are here to uninscribe what contains us, especially when it offers that empty promise of the American Dream: a sustained sense of safety, security, and happiness. What if womanhood and manhood only represented uneven proximity to safety and power, rather than true embodiment? Then it becomes a thing to play with, to long for as much as to break, in order to truly feel, rather than simply hope to be.

Writing about Fleischmann's book feels like what I imagine Fleischmann feels writing about Gonzalez-Torres' paintings...

• 国家是我们身体衰弱的东西
• 罗西·斯托克顿（生物）

T Fleischmann的时间就是身体在运动的东西，这让您向往。它使您向往，使您感觉不到刚好在框架之外的东西的缺失或过度感觉。尽管存在客体原因，但这种自我渴望仍会持续存在-无论该客体是暗恋还是稳定的性别意识。正是在这些空间中，弗莱希曼（T Fleischmann）渴望产生的东西充满了以愉悦为中心的坚持和严谨的生活。时间是人体运动的全部乐趣，是消遣和消遣：不是简单地描述成为并爱上性别差异体的乐趣，却是这种乐趣的产生。在产生这种愉悦感时，弗莱施曼一向沉迷于回忆录的传统形式。他们写道：“我不想给语言带来更多的触动。我只是希望语言能够产生更多的触动。” 通过禁止和禁止男女，爱人，失落，渴望和对短暂的拥有感的紧迫感，弗莱希曼的书成为了一个世界的蓝图，这个世界一直在逃避被我们束缚的存在形式。

时间就是身体移动的东西，是一种混合的作品，由愉悦和抵抗构成，在无情的渴望几何中循环。Fleischmann [End Page 15]将三种不同的体裁交织在一起，将一首散文诗编成辫子，以Felix Gonzalez-Torres的艺术作品，一种描述冰的自我描述的日常写作实践以及一本自传性日记和体现理论的机器为基础。总是想方设法夺回公共空间，将奇怪的关系变成无法辨认的形式，在画廊中高涨并​​他妈的，时间就是问题描绘出一种奇怪的画面，而不是将自己巩固为一种被认可并包含在大众想象中的身份类别，而对破坏资本主义和国家更感兴趣。当朋友流向恋人并再次返回时，那片斑驳的叙述抵制了线性关系，而且关系总是被地理距离标记为与异类规范的距离一样多，就像弗莱施曼从田纳西州乡村到芝加哥的朋克房屋，再到纽约的博物馆一样。搜索冈萨雷斯-托雷斯的作品。弗莱希曼（Fleishmann）对冈萨雷斯-托雷斯（Gonzalez-Torres）的痴迷，源于亲人因艾滋病危机而流连忘返，这标志着弗莱施曼（Fleischmann）与同性恋社区的转移关系（通过这种关系，他们进入了性生活）成为一种处理方式。

在书的一般性断裂之间的空间是the废的感觉一个人的性别在性别被吞噬之前就被撒谎了。这说明弗莱施曼用同情法西斯主义者的同一句话唤起了令人窒息的性别认同巨石：“我知道用这么大的东西来定义它似乎是令人痛苦的，以至于似乎吞没了你的每一个人。” 如果性别规范和传统关系形式在这里吞噬我们，压制我们，让我们成为尽职的公民和高效的工作人员，那么弗莱施曼的生活和叙事就在这里刻画了我们所包含的内容，尤其是当它提供了美国梦的空虚承诺时：持续的安全感，幸福感和幸福感。如果成年女性只代表着对安全和权力的不平等接近，而不是真正的体现，该怎么办？然后，为了真正做到感觉，而不是简单地希望是。

写弗莱施曼的书就像我想象的那样，弗莱施曼感觉像写冈萨雷斯-托雷斯的画...