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  • Memories That Smell Like Gasoline by David Wojnarowicz book cover
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Memories That Smell Like Gasoline

by David Wojnarowicz

Memory, public space, and life under the specter of AIDS

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AlbakiReads Editorial

Memory, public space, and life under the specter of AIDS

David Wojnarowicz’s collection brings together intimate stories, sketches, and images across four sections, moving from accounts of adolescence to later experiences in New York’s streets. Memory, violence, and the erotism of public space recur alongside the realities of AIDS and Wojnarowicz’s work as an artist and activist. The combination of text and image gives the collection a form that holds tenderness and anger together. This revised edition includes a foreword by Ocean Vuong and an editor’s note by Amy Scholder.

Good fit for readers who enjoy

  • For readers interested in LGBTQ+ literary collections and art.
  • For those exploring AIDS activism, memory, and representations of public space.
  • For readers interested in writing and visual work by David Wojnarowicz.

Themes

Memory and adolescenceViolence and public spaceAIDS and activismArt, tenderness, and rage

Based on publisher information and book metadata.

Book overview

"Wojnarowicz is a spokesman for the unspeakable." --New York Magazine

David Wojnarowicz, one of the most provocative artists of his generation, explores memory, violence, and the erotism of public space--all under the specter of AIDS.

Here are David Wojnarowicz's most intimate stories and sketches, from the full spectrum of his life as an artist and AIDS activist. Four sections--"Into the Drift and Sway," "Doing Time in a Disposable Body," "Spiral," and "Memories that Smell like Gasoline"--are made of images and indictments of a precocious adolescence, and his later adventures in the streets of New York. Combining text and image, tenderness and rage, Wojnarowicz's Memories that Smell like Gasoline is a disavowal of the world that wanted him dead, and a radical insistence on life.

The new and revised edition features a foreword by Ocean Vuong and a note from the editor, Amy Scholder.

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