Stonecoast MFA in Creative Writing

T Clutch Fleischmann

Creative Nonfiction
image unavailable

Office Location

Stonecoast MFA Office - 98 Bedford Street, Portland, ME 04012



Academic Degrees

  • MFA, Nonfiction Writing, University of Iowa
  • BFA, Writing, Grand Valley State University


T Clutch Fleischmann is the author of the book-length essays Syzygy, Beauty (Sarabande Books) and Time Is the Thing a Body Moves Through, forthcoming from Coffee House Press in 2019. A Nonfiction Editor at DIAGRAM, they curated the chapbook Body Forms through Essay Press and run a series on transgender writers for the blog EssayDaily. T Clutch has published creative work in The Kenyon Review Online, Fourth Genre, The Fanzine, Pleiades, and the Indiana Review; critical work can be found in The Brooklyn Rail, Publishers Weekly, and the Los Angeles Review of Books. Their hybrids of critical and creative essays have been anthologized in How We Speak to One Another (Coffee House Press), Bending Genre (Continuum), Little Boxes: Twelve Writers on Television (Coffee House Press), and Feminisms in Motion: A Decade of Intersectional Feminist Media, forthcoming from AK Press in 2018. T Clutch also exhibits as a visual artist, working in mixed media and text installation.


Areas of Scholarship

Visual art, transgender embodiment, loss, longing, desire and sex, the personal narrative, concepts of the "self," landscape, and movement.

Recent Publications

"Looking for Samuel Delany," How We Speak to One Another (Coffee House Press)

"A Ninja Turtle Theory of a Trans Essay," EssayDaily

"House with Door," Fanzine


Celebrating the Essay’s Activist Roots

T. Fleischmann

While we could easily argue that any act of writing or art-making has a political component inherent to it, the literary essay has forged a unique link to activist thought from its earliest days. Montaigne spoke against the colonization of America and the genocide of indigenous people, many of James Baldwin’s most well-known essays are reckonings with white supremacy in the United States, and Joan Didion is as powerful and often a shrewd political critic as she is a cultural or literary critic. Despite this, however, study of the essay almost always focuses on questions of de-politicized craft, leaving the political and activist lineage of our genre unacknowledged.

In this seminar, we’ll celebrate and explore the activist legacy of the essay, attempting to break down the distinction between activist writing (which is often treated as non- or sub-literary) and literary writing (in which activist modalities are often viewed as insignificant or even detrimental to creative goals). We’ll use Rachel Blau DuPlessis’s critical essay “f Words: An Essay on the Essay” as a launching point to consider our genre more broadly. From there, we’ll move through a packet of short readings (distributed in the seminar) to survey the many successes of activist essayists, including those written by personal essayists, memoirists, nature writers, lyric essayists, and related subgenres. If the personal is political, can we say the personal essay is, too?

Required Reading:

Rachel Blau DuPlessis, “f Words: An Essay on the Essay”

Pre-seminar writing: Draft one or two pages about the ways that your own writing does or does not enact activist modalities and work toward activist goals.

Creative Activity

I'm currently working on a manuscript that merges two different projects, a book-length essay in verse on the artist Felix Gonzalez-Torres and a personal essay in prose on embodiment and desire. At the same time, I'm slowly completing a cross-media installation art project titled "Talka, Talka, Talka," a collaboration with a visual artist that draws on our experience in varied disciplines. I always accompany my creative work with more critical work, including a series I currently run on EssayDaily in which I interview trans writers and artists on their relation to genre and form.