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Recent Publication Information for Amy Sara Carroll

TITLE

Fannie + Freddie, The Sentimentality of Post-9/11 Pornography

AUTHOR

Amy Sara Carroll
Faculty Info

MORE INFO

Materialist, feminist, queer, hybrid--channeling the sensibilities of Gloria Anzaldúa, Rosario Castellanos, Mary Kelly, Teresa Hak Kyung Cha, Cecilia Vicuña, Patssi Valdez, Bernadette Mayer--Carroll's second collection of prose poems and word-images contemplates the cost of living in an era of "cruel optimism." Procedurally formalizing self-editing and indecision, Carroll undocuments the quotidian's shades of gray/grey, the contingencies of post-Fordist relationality in the pre-Occupy window of time between September 11, 2001, and the 2008 recession. "Cognative dissonance" meets "the rite to be a citizen." "What is the difference between neoliberalism and globalization?" tempers the counter-cultural question--"And, me?--" In Fannie + Freddie/The Sentimentality of Post-9/11 Pornography, Carroll muses, "Like Sammy and Rosie, Fannie and Freddie got laid."

Off-grid, she mixes metaphors, criss-crossing the borders erected between the lyric and the conceptual "I." She crosses out the dividing lines elected to maintain performance art, visual culture, and poetry as discrete clairvoyant mediums of social engagement. She layers jokes, puns, riddles, platitudes, hackneyed phrases, adages, boilerplate, buzzwords, mottos, proverbs, rubber-stamp rhetoric, slogans, threadbare phrases, trite remarks, and truisms over each other to provide a portrait of the contemporary American landscape as experienced by working- and middle-class Americans. Carroll offers an elaborate palimpsest of text and images--text that is often shaded, crossed out, or printed over other text or images.

Claudia Rankine, who chose the volume for Fordham University's 2011-2012 Poets Out Loud Prize, succinctly sings its praises: "The intelligence, compassion and dimensionality of this collection place it in a category all its own--it belongs and is crafted out of the psychic anxieties of the twenty-first century. I, for one, was both exhilarated and humbled by Fannie + Freddie/ The Sentimentality of Post-9/11 Pornography."

All recent publications by Amy Sara Carroll

  • Fannie + Freddie, The Sentimentality of Post-9/11 Pornography
  • Secession

All publications by Amy Sara Carroll

POETRY COLLECTIONS
  • FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography (winner of the 2011-2012 Poets Out Loud Prize, selected and with a foreword by Claudia Rankine), New York: Fordham University Press, 2013.
  • SECESSION (a collection of poems and prints that includes an introduction by Holly Hughes, two critical essays by Laura Gutiérrez and Evie Shockley, and two interviews with Carroll by Heidi Bean and Carlos Amador and Rachel Price). San Diego: Hyperbole Books (an imprint of San Diego State University Press), 2012.
CRITICAL ESSAYS

  • “From Papapapá to Sleep Dealer: Alex Rivera’s Undocumentary Poetics,” Social Identities: Journal for the Study of Race, Nation and Culture 19.3-4 (special issue on “Political Documentary Cinema in Latin America: Concepts, Histories, Experiences”), Summer 2013: 485-500.
  • “Global Mexico’s Coproduction: Babel, Pan’s Labyrinth, and Children of Men,” The Journal of Transnational  American Studies 4.2 (special issue on “Revolutions and Heterotopias”), 2012. http://www.escholarship.org/uc/item/4bp4x1sg
  • Muerte sin fin: Teresa Margolles’s Gendered States of Exception,” The Drama Review (TDR) 54.2 (T206), Summer 2010: 103–125.
  • “La lateralización de la historia, Maquilapolis y el efecto de los años 2000 y 2001,” in Representación y fronteras:el performance en los límites del género , eds. Hortensia Moreno & Stephany Slaughter, México: UNAM/PUEG/UNIFEM, 2009: 187-201.
  • “‘Accidental Allegories’ Meet ‘The Performative Documentary’: Boystown, Señorita Extraviada, and the Border-Brothel→Maquiladora Paradigm,” SIGNS, Winter 2006 (31: 2): 357-396.
  • “A Critical Regionalism: The Allegorical Performative in Madre por un día and the Rodríguez/Felipe Wedding,” e-misférica 2.2 (special issue on "Sexualities and Politics in the Americas"), November 2005. http://hemi.nyu.edu/journal/2_2/carroll.html
  • “Incumbent upon Recombinant Hope: EDT’s Strike a Site, Strike a Pose,” The Drama Review (TDR) 47.2 (T178), Summer 2003: 145-150.
HYBRID ESSAYS
  • “Codeswitch: The Transborder Immigrant Tool” and selection of poetry from the project (with translations by Yanoula Athanassakis [Greek], Lili Hsieh and Zona Yi-Ping Tsou [Mandarin Chinese], and Tatiana Sizonenko [Russian]), Somatic Engagement, edited by Petra Kuppers. San Francisco: Chain Links, 2011.
  • “EDT 1.0, EDT 2.0, EDT 3.0” and selection of poetry from the Transborder Immigrant Tool, Errata# Revista de Artes Visuales 3 (special issue on “Cultura Digital y Creación/Digital Culture and Creation”), December 2010 (actual publication September 2011): 40-64.
COLLABORATIVE TEXTS
  • Sustenance: A Play for All Trans [    ] Borders (chapbook/pamphlet), Electronic Disturbance Theater/b.a.n.g. lab, New York: Printed Matter, Inc. (Artists & Activists series), 2010.
  • Nanosférica, *particle group* portfolio, “Multimedios,” e-misférica 6.1 (special issue on “Contagion”), Summer 2009.  http://hemi.nyu.edu/hemi/en/e-misferica-61

POETRY
 
Carroll's poetry has appeared in and on various journals and anthologies such as Poets for Living WatersHOW2, Version, Rattle, Jubilat, Talisman, Vandal, Carolina Quarterly, The Iowa Review, Mandorla, Chain, Bombay Gin, Seneca Review, Borderlands, Faultline, This Bridge We Call Home, and Not for Mothers Only: Contemporary Poets on Child-Getting and Child-Rearing. Her collaborative work has been in numerous exhibitions, including the 2010 California Biennial.

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