#MAGGIE CARUTHERS

[slarxsa]

Tad Caruthers was 100% in love with Adam idc.

[clancarruthers]

CLAN CARRUTHERS - STEPHEN BURTON CARUTHERS 1872- 1955

CLAN CARRUTHERS – STEPHEN BURTON CARUTHERS 1872- 1955

STEPHEN BURTON CARUTHERS 1872 – 1955

Stephen Burton and brother  Claude in front of their  blacksmith shop, Cookeville Tennessee.The lower left picture is dated 1922. Stephen was  born: 21 Jun 1872 • Cookeville, Putnam, Tennessee, USA Birth (Alternate)27 Jun 1872 • Pulaski, Giles, Tennessee, USA Death 28 MAR 1955 • Alexandria, Alexandria, Virginia, USA Military 9 Apr 1865  Tennessee

[smudesmud]

[chaoticnutcase]

Maggie Caruthers @ iShine 365 wearing a Black Deep Side Plunge One Piece Swimsuit.

[intimatum]

intertextuality

desire / eating disorder / hunger: «to be the girl who lunges at people−wants to eat them» (letissier) / «a way to take all hungers and boil them down to their essence–one appetite to manage��just one» (knapp)

trauma / trauma theory / visceralities of trauma

writers

ada limón, adrienne rich, agnès varda, alana massey, alejandra pizarnik, alice notley, ana božičević, anaïs nin, andrea dworkin, andrew solomon, angela carter, angélica freitas, angélica liddell, ann cvetkovich, anna akhmatova, anna gien, anne boyer, anne carson, anne sexton, anne waldman, antonella anedda, aracelis girmay, ariana reines, audre lorde, aurora linnea

barbara ehrenreich, bell hooks, bessel van der kolk

carmen maria machado, caroline knapp, carrie lorig, cat marnell, catharine mackinnon, catherynne m. valente, cathy caruth, césar vallejo, chris kraus, christa wolf, clarice lispector, claudia rankine, czesław miłosz

daniel borzutzky, daphne du maurier, daphne gottlieb, david foster wallace, david wojnarowicz, dawn lundy martin, deirdre english, denise levertov, detlev claussen, dodie bellamy, don paterson, donna tartt, dora gabe, dorothea lasky, durs grünbein

édouard levé, eike geisel, eileen myles, elaine kahn, elena ferrante, elisabeth rank, elyn r. saks, emily dickinson, erica jong, esther perel, etty hillesum, eve kosofsky sedgwick

fanny howe, félix guattari, fernando pessoa, fiona duncan, frank bidart, franz kafka

gabriele schwab, gail dines, georg büchner, georges bataille, gertrude stein, gilles deleuze, gillian flynn, gretchen felker-martin

hannah arendt, hannah black, heather christle, heather o'neill, heiner müller, hélène cixous, héloïse letissier, henryk m. broder, herbert hindringer, herbert marcuse

ingeborg bachmann, iris murdoch

jacques derrida, jacques lacan, jade sharma, jamaica kincaid, jean améry, jean baudrillard, jean rhys, jeanann verlee, jeanette winterson, jenny slatman, jenny zhang, jerold j. kreisman, jess zimmerman, jia tolentino, joachim bruhn, joan didion, joanna russ, joanna walsh, johanna hedva, john berger, jörg fauser, joy harjo, joyce carol oates, judith butler, judith herman, julia kristeva, june jordan, junot díaz

karen barad, kate zambreno, katherine mansfield, kathrin weßling, kathy acker, katy waldman, kay redfield jamison, kim addonizio

lacy m. johnson, larissa pham, lauren berlant, le comité invisible, leslie jamison, lidia yuknavitch, linda gregg, lisa diedrich, louise glück, luce irigaray, lynn melnick

maggie nelson, margaret atwood, marguerite duras, marie howe, marina tsvetaeva, mark fisher, martha gellhorn, mary karr, mary oliver, mary ruefle, marya hornbacher, max horkheimer, melissa broder, michael ondaatje, michel foucault, miranda july, miya tokumitsu, monique wittig, muriel rukeyser

naomi wolf, natalie eilbert, natasha lennard, nelly arcan

ocean vuong, olivia laing, ottessa moshfegh

paisley rekdal, patricia lockwood, paul b. preciado, paul celan, peggy phelan

rachel aviv, rainald goetz, rainer maria rilke, rebecca solnit, richard moskovitz, richard siken, robert jensen, roland barthes, ronald d. laing

sady doyle, sally rooney, salma deera, samuel beckett, samuel salzborn, sandra cisneros, sara ahmed, sara sutterlin, sarah kane, sarah manguso, scherezade siobhan, sean bonney, sheila jeffreys, shoshana felman, shulamith firestone, sibylle berg, silvia federici, simone de beauvoir, simone weil, siri hustvedt, solmaz sharif, sophinette becker, soraya chemaly, stephan grigat, susan bordo, susan sontag, suzanne scanlon, sylvia plath

theodor w. adorno, thomas brasch, tiqqun, toni morrison

ursula k. le guin

valerie solanas, virginia l. blum, virginia woolf, virginie despentes

walter benjamin, wisława szymborska, wolfgang herrndorf, wolfgang pohrt

zadie smith, zan romanoff, zoë lianne, zora neale hurston

[snorlaxlovesme]

how about that adam dude from that thing you like which I haven't read but appreciate your enthusiasm for?

laura i owe you my life

Sexuality Headcanon:

bisexual! adam is confirmed to be sexually attracted to multiple genders and we are proud of him for it

Gender Headcanon:

while it seems like his understanding of gender definitely gets more complex in college since he’s made a nonbinary friend, I don’t think that Adam is the type to examine his OWN gender under a lens like that and probably sticks to seeing himself as rigidly masculine and sticks to those constructs. but i enjoy the fact that despite coming from such a conservative upbringing he becomes friends with Elliott within the first few months of starting school, which means that almost IMMEDIATELY after leaving Henrietta behind he’s already broadening his horizons.

A ship I have with said character:

tbh i ship adam with like everyone in the gang? except maybe noah bc they have very few interactions together. 

obviously ronan is endgame and pynch is very close to my heart and that goes without saying. i genuinely can’t get over that, from adam’s POV at leasy, he’s living the Enemies to Lovers trope in real time. book 1 adam hates ronan so. fucking. much. for the majority of the book. if only you had your tarot cards in TRB, parrish, you coulda foreseen that soon you’d be letting that fucker kiss your knuckles in every other scene of CDTH

adam/gansey is another fan favorite but, like much of the fandom, i see gansey EASILY being head over heels for adam while adam’s feelings back are a lot more complicated. adam loves gansey the person but viscerally hates gansey’s privilege, which, like it or not makes up a large part of who gansey is. so as fun as adansey is for the memes, it would be a hard ship to actually make work because I feel like gansey would spend a lot of mental energy unravelling parts of himself to appease adam and adam would have to unpack a LOT of his bullshit so gansey wouldn’t have to do that.

and i don’t care what anyone thinks, book 1 adam/blue is still adorable to me. i know their relationship went sour (and honestly never fully built itself back up again, something that still grates my nerves bc i woulda liked some closure with those two) but the awkward flirting and sweet puppy love thing they have going on in TRB still makes me smile. like??? the baby’s breath bouquet??? i’ll never be over that. never.

A BROTP I have with said character:

adam and opal! seeing them bond in the TRK Opal special was fantastic and i wish we could have gotten more content of them doing normal every day things. i also want them to team up to torment ronan

A NOTP I have with said character:

uhh. there aren’t many people he’s shipped with outside of ronan and gansey really. 

i guess i’m against the idea of tad caruthers/adam. purely bc if tad annoys adam in canon he annoys me as well.

A random headcanon:

even tho being Deaf in one ear doesn’t exactly necessitate the use of sign language all the time, its helpful for adam to have it as a back-up in crowded, public spaces where its hard to concentrate on one person talking, in areas with a lot of overwhelming background noise, etc. everyone in the gang learns it, but since adam and ronan see each other most often they learn it the fastest/know the most vocab. do they use it for the aformentioned reasons listed above? rarely. mostly they use ASL to talk shit about their friends in front of them and it bothers the SHIT out of gansey and blue that now those fuckers are fluent in TWO languages that they’re not.

General Opinion over said character:

still one of my favorite characters of all time. i was hooked in book one just by how similar our thought processes were on all things re: money and seeing his growth in all aspects of his life is just *chef’s kiss*

he’s cold and he’s observant and he’s clever and he’s harsh and he’s bright and intense and he’s stubborn and he’s self-preserving and he’s TRYING HIS BEST and I’m just so impressed with the level of care his character got and how much he was able to grow! like i know its not a 1:1 ratio bc we’re completely different but sometimes i feel like if i want someone to understand me as aperson they should just. read trc for adam parrish. and they’d Get It.

i’m so glad his character arc was finished to completion even with all the complications maggie faced during the writing of trk. adam parrish is her greatest gift to me personally and in both the times i’ve met her i’ve never been able to articulate that but i hope she knows. 

[feminineambrosia]

A perfect evening the the amazing Maggi Caruthers

[transnationaltransformations]

synchornization of the sense syllabus

Course Description:

Synchronizations of Senses (SOS), a seminar/workshop/studio/study group/conversation, is a complement to 4.356Cinematic MigrationsLinks to an external site.. This class invites in-depth examination of sense percepts, noting nuances, and articulating specificities. A generative focus is placed on the practices of varied practitioners­–film directors, artists, musicians, composers, architects, designers–whose writings relay a process of thinking and feeling integral to their forms of material production.

Using prompts suggesting varying contexts, such as The Film Sense, written by Sergei Eisenstein, and The Cinema Interval, written by Trinh T. Minh-Ha, in addition to other writings by Eisenstein and Minh-Ha and others, the intention of this course is to create a space for experimentation, exploratory discussion and productions via aesthetic inquiry into perceptions of all senses.

Testing various ways aesthetic forms and their shifts—historic and contemporary—have relations to still emerging contemporary subjectivities (felt emotion in a human body), in this workshop/seminar we will study productions created by participants, case studies of varied producers, and generate new work individually and/or collaboratively via diverse media explorations, which include reading, writing, drawing, and publishing, as well as photographic, cinematic, spatial, and audio operations productions.

The course contents will comprise screenings, listening assignments, and guest visits, in addition to readings, discussions, and presentations. An aim is conviviality, rigor, and engagement fueled by the willingness of the participants to share perceptions and projects. The SOS Documentation Project, produced by the previous participants, is an ongoing accretive node.

Course References: Filmmakers considered include Sergei Eisenstein, Luis Buñuel, Ousmane Sembene, Trinh T. Minh-ha, Lucrecia Martel, Jia Khangke, Andrei Tarkovsky, John Akomfrah, Jean-Luc Godard, Apichatpong Weerasethakul, Abderrahmane Sissako, Haile Gerima, and others. Selected Readings: This is a list of readings indicating what class participants may be able to choose from in relation to their interests. Eisenstein, Sergei. The Film Sense. Edited by Jay Leyda. New York: Harcourt, Brace, 1947. Eisenstein, Sergei, and Jay Leyda. Film Form: Essays in Film Theory. New York: Harcourt, Brace, 1969. Trinh, T. Minh-Ha. Cinema Interval. New York: Routledge, 1999. Trinh, T. Minh-Ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Bloomington: Indiana University Press, 1989. Trinh, T. Minh-Ha. When the Moon Waxes Red: Representation, Gender, and Cultural Politics. New York: Routledge, 1991. Trinh, T. Minh-Ha. Lovecidal: Walking with the Disappeared. New York: Fordham University Press, 2016. Cha, Theresa Hak Kyung. Dictée. New York: Tanam Press, 1982.Cha, Theresa Hak Kyung. Dictee. 1St Calif. pbk. ed. Berkeley: University of California Press, 2001. Cha, Theresa Hak Kyung., ed. Apparatus, Cinematographic Apparatus: Selected Writings. New York: Tanam Press, 1980. Tarkovskiĭ, Andreĭ Arsenʹevich. Sculpting in Time: Reflections on the Cinema. 3Rd University of Texas Press ed. Austin: University of Texas Press, 1991. MacKenzie, Scott, ed. Film Manifestos and Global Cinema Cultures: a Critical Anthology. Berkeley: University of California Press, 2014. Anthes, Bill. Edgar Heap of Birds. Durham: Duke University Press, 2015. Rukeyser, Muriel. The Life of Poetry. New York: Current Books, 1949.Rukeyser, Muriel. The Life of Poetry. New York: Kraus Reprint, 1968. Silko, Leslie Marmon. Almanac of the Dead: a Novel. New York: Simon & Schuster, 1991.Silko, Leslie Marmon. Almanac of the Dead: a Novel. New York: Penguin Books, 1992. Pamuk, Orhan, and Erdağ M Göknar. My Name Is Red. 1St American ed. New York: Alfred A. Knopf, 2001. Pamuk, Orhan, and Maureen Freely. Other Colors: Essays and a Story. 1St U.S. ed. New York: Alfred A. Knopf, 2007. Buñuel, Luis, and Garrett White. An Unspeakable Betrayal: Selected Writings of Luis Buñuel. Berkeley: University of California Press, 2000. Classen, Constance, ed. The Book of Touch. Oxford: Berg, 2005. Classen, Constance. Worlds of Sense: Exploring the Senses in History and across Cultures. London: Routledge, 1993. Classen, Constance. The Color of Angels: Cosmology, Gender, and the Aesthetic Imagination. London: Routledge, 1998. Deleuze, Gilles, and Félix Guattari. What Is Philosophy?. New York: Columbia University Press, 1994. Deleuze, Gilles. Cinema. Minneapolis: University of Minnesota Press, 1986.Deleuze, Gilles. L'Image-Mouvement. Paris: Éditions du Minuit, 1983.Deleuze, Gilles. L'Image-Temps. Paris: Éditions de Minuit, 1985. Bergson, Henri, Nancy Margaret Paul, and M. E Dowson. Matter and Memory. London: G. Allen & Unwin, 1962.Bergson, Henri, Nancy Margaret Paul, and M. E Dowson. Matter and Memory. New York: Doubleday, 1959.Bergson, Henri. Matter and Memory. New York: Zone Books, 1999.  Barad, Karen Michelle. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press, 2007. Keeling, Kara. The Witch's Flight: the Cinematic, the Black Femme, and the Image of Common Sense. Durham: Duke University Press, 2007. Delany, Samuel R. About Writing: Seven Essays, Four Letters, and Five Interviews. Middletown, CT: Wesleyan University Press, 2005. Batchelor, David. Chromophobia. London: Reaktion Books, 2000. Arnheim, Rudolf. Visual Thinking. Berkeley: University of California Press, 1969. Thomas, Sheree R., ed. Dark Matter: a Century of Speculative Fiction from the African Diaspora. New York: Warner Books, 2000. Marcus, Greil., and Werner. Sollors, eds. A New Literary History of America. Cambridge, Mass.: Belknap Press of Harvard University Press, 2009. Albers, Josef. Interaction of Color. 50Th anniversary edition ; 4th edition. New Haven, [Connecticut]: Yale University Press, 2013. Liu, Cixin, and Ken Liu. The Three-Body Problem. First U. S. edition. New York: Tor Books, 2014. Condé, Maryse, and Richard Philcox. Of Morsels and Marvels. London: Seagull Books, 2020. Spivak, Gayatri Chakravorty. Readings. London: Seagull Books, 2014.  

The asteriks (***) indicate readings to be read during the initial weeks of the workshop/seminar, as these will allow us to begin discussions of a matrix of terms we’ll be working with–such as functives, percepts, and concepts–in order to share a basis for further probing.

***Moten, Fred. Stolen Life. Durham: Duke University Press, 2018.

‘Anassignment Letters’

***Deleuze, Gilles, and Félix Guattari. What Is Philosophy?. New York: Columbia University Press, 1994.‘Conclusion : From Chaos to the Brain’***Eisenstein, Sergei. The Film Sense. Edited by Jay Leyda. New York: Harcourt, Brace, 1947.chapter 2, ‘Synchronization of Senses’

***Wolf, Maryanne. Reader, Come Home: The Reading Brain in a Digital World. New York: HarperCollins,

***Ingold, Tim. “Bringing Things Back to Life: Creative Entanglements in a World of Materials.”

University of Aberdeen, 2010.

 Further References:

Spillers, Hortense J. Black, White, and in Color: Essays on American Literature and Culture. Chicago: University of Chicago Press, 2003.

Keller, Helen. The World I Live in. New York: The Century co., 1914.

Harris, Laura. Experiments in Exile: C.L.R. James, Hélio Oiticica, and the Aesthetic Sociality of Blackness. First edition. New York: Fordham University Press, 2018.

New Museum (New York, N.Y.). Trigger: Gender as a Tool and a Weapon. Edited by Johanna Burton and Natalie Bell. New York, NY: New Museum, 2017.

(exhibition catalogue)

Janevski, Ana, and Thomas J. Lax. Judson Dance Theater: the Work Is Never Done. New York, NY: Museum of Modern Art, New York, 2018.

(exhibition catalogue)

Bard College Center for Curatorial Studies. The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. Edited by Jeannine Tang, Ann E. Butler, and Lia Gangitano. Annandale-on-Hudson, NY: Center for Curatorial Studies, Bard College, 2018.

(exhibition catalogue)

Hustvedt, Siri. Living, Thinking, Looking: Essays. New York: Picador, 2012.

Brinkema, Eugenie. The Forms of the Affects. Durham: Duke University Press, 2014.

Rancière, Jacques. Aisthesis: Scenes from the Aesthetic Regime of Art. London: Verso Books, 2013.

Rothenberg, Jerome, and Steven Clay, eds. A Book of the Book: Some Works & Projections about the Book & Writing. New York: Granary Books, 2000.

White, Hayden V. The Practical Past. Evanston, Illinois: Northwestern University Press, 2014.

Eagleton, Terry. The Ideology of the Aesthetic. Cambridge, MA, USA: Basil Blackwell, 1990.

Lupton, Ellen. Thinking with Type: a Critical Guide for Designers, Writers, Editors, & Students. 2Nd rev. and expanded ed. New York: Princeton Architectural Press, 2010.

Baer, Nicholas, Maggie Hennefeld, Laura Horak, and Gunnar Iversen, eds. Unwatchable. New Brunswick: Rutgers University Press, 2019.

Flusser, Vilém, and Nancy Ann Roth. Gestures. Minneapolis, MN: University of Minnesota Press, 2014.

Chute, Hillary L. Why Comics?: from Underground to Everywhere. First edition. New York, NY: Harper, an imprint of HarperCollinsPublishers, 2017.

Clark, Samanta and Samuel. Casa Moro. London: Ebury, 2004.

Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, and History. Twentieth Anniversary edition. Baltimore, Maryland: Johns Hopkins University Press, 2016.

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