I am glad I am alive to witness these things; giving words to this life of sensations is a relief. Smell the flowers while you can. Close to the Knives is the artist, writer and activist David Wojnarowicz's extraordinary memoir. Filthy, beautiful, and sharp to the point of piercing, it is both an exploration of the world seen through the eyes of an artist, and a moving portrait of a generation living, grieving, and dying through the AIDS crisis. It is a triumphant hymn of resistance, and a dizzying celebration of the joys of seeing and living in the world.

From the author of Close to the Knives, a series of fictional monologues that create a visceral and carnivalesque mosaic of life at the fringes of late-80s America. The Waterfront Journals is a collection of monologues, each ventriloquising one of the many people whom Wojnarowicz met on his travels throughout America while he was sleeping rough. We meet these down and outs in unassuming locations - in truck stops, bus stations and parks - and taken together their voices form a poignant chorus that distils the desires, dreams and dangers of those people whose lives confined are to the margins.

David Wojnarowicz came to fame in the 1980s as a radical artist whose work challenged the boundaries of art, making him, for a time, the object of Jesse Helms's conservative backlash. Before his death in 1992, he was established as an outspoken AIDS activist, anticensorship advocate, and groundbreaking artist and writer. New York called him a "spokesman for the unspeakable," and The New York Times declared that "his most lasting legacy will be as a writer." The Waterfront Journals is a collection of his early works of autobiographical fiction. Written as short monologues, each is in the voice of one of the many people he encountered in his travels throughout America in the late 1970s and early 1980s, when he was living on the street. Wojnarowicz stumbles upon his characters in bus stations, at the side of the road, in hotels, coffee shops, and back alleys, where their interactions are less than epic, but unnervingly intimate. The Waterfront Journals is a testament to their identities, and of Wojnarowicz's grace as a writer.

In Close To The Knives, David Wojnarowicz gives us an important and timely document: a collection of creative essays -- a scathing, sexy, sublimely humorous and honest personal testimony to the "Fear of Diversity in America."

From the author's violent childhood in suburbia to eventual homelessness on the streets and piers of New York City, to recognition as one of the most provocative artists of his generation -- Close To The Knives is his powerful and iconoclastic memoir.

Street life, drugs, art and nature, family, AIDS, politics, friendship and acceptance: Wojnarowicz challenges us to examine our lives -- politically, socially, emotionally, and aesthetically.

Audio journals that document Wojnarowicz's turbulent attempts to understand his anxieties and passions, and tracking his thoughts as they develop in real time. In these moments I hate language. I hate what words are like, I hate the idea of putting these preformed gestures on the tip of my tongue, or through my lips, or through the inside of my mouth, forming sounds to approximate something that's like a cyclone, or something that's like a flood, or something that's like a weather system that's out of control, that's dangerous, or alarming.... It just seems like sounds that have been uttered back and forth maybe now over centuries. And it always boils down to the same meaning within those sounds, unless you're more intense uttering them, or you precede them or accompany them with certain forms of violence. -from The Weight of the Earth Artist, writer, and activist David Wojnarowicz (1954-1992) was an important figure in the downtown New York art scene. His art was preoccupied with sex, death, violence, and the limitations of language. At the height of the AIDS epidemic, Wojnarowicz began keeping audio journals, returning to a practice he'd begun in his youth.The Weight of the Earth presents transcripts of these tapes, documenting Wojnarowicz's turbulent attempts to understand his anxieties and passions, and tracking his thoughts as they develop in real time. In these taped diaries, Wojnarowicz talks about his frustrations with the art world, recounts his dreams, and describes his rage, fear, and confusion about his HIV diagnosis. Primarily spanning the years 1987 and 1989, recorded as Wojnarowicz took solitary road trips around the United States or ruminated in his New York loft, the audio journals are an intimate and affecting record of an artist facing death. By turns despairing, funny, exalted, and angry, this volume covers a period largely missing from Wojnarowicz's written journals, providing us with an essential new record of a singular American voice.