Maggie Nelson, whose essays and poetry have changed the way we think about art, queerness and gender, talks about her timely new book, 'On Freedom.'
said as she emerged from the back door of a house in Oakland. “Meeting you, outside, in these circumstances,” she laughed. “Welcome to this house that isn’t mine!”,” a dazzling 2015 memoir using her romance with trans artist Harry Dodge to offer an “auto-theory” of gender and desire, Nelson has become a legendary figure among a certain subset of readers: a generation grappling with the art and identity in a post-9/11 world, striving under a capitalist system that has largely failed them.
Walking into the backyard of the house that wasn’t hers was akin to making a pilgrimage to an oracle, a childlike empress of letters. We were meeting to talk about her new book, “,” her 10th, and her first in six years. Nelson popped inside to put her dog away. She made me a cup of tea. It was almost too much. “I’m going to try to not cry, or fangirl-out on you too much,” I warned her. She laughed. “Thank you,” she said, “that’s very nice.
Concepts like art, cruelty and freedom are a lot to wrap one’s head around. Yet Nelson bounds across knotty subjects like #MeToo, sex positivity, addiction, queer theory, anxiety and carceral feminism without tiring of the painstaking work of untangling controversies. Seeking purchase among them, I flailed around for answers as Nelson nodded and murmured “mm-hmm,” like a teacher waiting for the student to arrive at their own understanding.
Questions about freedom feel urgent, even life-or-death. During the pandemic, the concept has been distorted: antivaxxers’ “freedom” to forgo the personal and social benefit of inoculation, their “freedom” to spread contagion by not wearing a mask.’s “freedom” of “expression” to rush the Capitol, deny climate change, grab women wherever they like.
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