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Recent Publication Information for Amy Sara Carroll


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


Amy Sara Carroll
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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

  • [({    })] The Desert Survival Series/La serie de sobrevivencia del desierto
  • Fannie + Freddie, The Sentimentality of Post-9/11 Pornography
  • Secession

All publications by Amy Sara Carroll

  • REMEX: Toward an Art History of the NAFTA Era. Austin: The University of Texas Press (Mellon Latin American and Caribbean Arts and Cultures Publishing Initiative), forthcoming 2017. 
  • 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.
  • [({    })] The Desert Survival Series/La serie de sobrevivencia del desierto (bilingual edition), Electronic Disturbance Theater 2.0/b.a.n.g. lab, computer code by Brett Stalbaum and Jason Najarro, poetry and statement by Amy Sara Carroll, translations by Francheska Alers-Rojas, Julieta Aranda, Elizabeth Barrios, Iván Chaar-López, Natasha Hakimi Zapata, Orquídea Morales, Omar Pimienta and Mary Renda. Ann Arbor: The University of Michigan Digital Environments Cluster Publishing Series (coordinated by Tung-Hui Hu and John Cheney-Lippold), 2014. (Creative Commons license)
        Digital redistribution 
  • CTHEORY and CTheory Books BLUESHIFT series (University of Victoria, British Columbia, Canada), 2015. http://pactac.net/ctheory-books-2/
  • Electronic Literature Collection 3, edited by ELC3 Collective Stephanie Boluk, Leonardo Flores, Jacob Garbe, and Anastasia Salter, 2016. http://collection.eliterature.org/3/
  • CONACULTA E-Literatura/Centro de Cultura Digital Editorial and Revista 404 (Mexico City, Mexico), with interview with Carroll and Ricardo Dominguez by Lorena Gómez Mostajo, Mónica Nepote, and Ximena Atristain, “La herramienta transfronteriza para inmigrantes,” 2016. http://editorial.centroculturadigital.mx/es/publicacion/de-la-ecopoetica-y-los-medios-dislocativos.html http://editorial.centroculturadigital.mx/es/descargable/la-herramienta-transfronteriza-para-inmigrantes.html
  • Truthdig, Arts & Culture section, complete set of poems published serially, 2016. 
  • HEMI Press (Hemispheric Institute of Performance and Politics Publications, New York University, New York, NY), multilingual TOME edition with essays by Ashley Ferro-Murray and Sergio Delgado and Nahuatl translations of poetry by Martín Vega and Eduardo de la Cruz Cruz and Mixe translations by Luis Balbuena Gómez, 2017. http://tbt.tome.press
  • “Consummate ‘PIAS Forms’: Periodizing Mexico’s 1990s,” catalogue essay for Below the Underground: Renegade Art and Action in 1990s Mexico, curator Irene Tsatsos. Armory Center for the Arts, Pasadena, CA (“Pacific Standard Time: LA/LA,” The Getty Foundation), forthcoming October 2017.
  • “If School Is a Factory, Where is Ana Mendieta?” The Volta, “Evening Will Come: A Monthly Journal of Poetics” (“Poetry and Power” special forum, edited by Evie Shockley), April 2017. Reprint: Best American Experimental Writing 2018, selected by guest editor Myung Mi Kim. Middletown, CT: Wesleyan University Press, forthcoming 2018.
  • “[The Fiction of a Doorframe] Further Notes on Undocumentation,” Media Fields Journal 12 (“Media and Migration” special issue, edited by Bianka Ballina and Carlos Jiménez), January 2017.
  • “Lesbianism-Poetry // Poetry-Lesbianism,” The Cambridge Companion to Lesbian Literature, ed. Jodie Medd. Cambridge: Cambridge University Press, 2015. 188-203.
  • El derecho de réplica: Performance—Lorena Wolffer—Performatividad,” exhibition essay for Lorena Wolffer/ Expuestas: registros públicos (July-October 2015), Museo de Arte Moderno, Mexico City, Mexico, 2015. 23-27. http://www.museoartemoderno.com/lorena-wolffer#/catlogo/
  • “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. Reprint: Wilson, Kristi and Antonio Traverso, eds. Political Documentary Cinema in Latin America. New York and London: Routledge, 2014. 211-226.
  • “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
  • “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. 19-35.
  • “EDT 1.0, EDT 2.0, EDT 3.0” and selection of poetry from the Transborder Immigrant ToolErrata# Revista de Artes Visuales 3 (special issue on “Cultura Digital y Creación/Digital Culture and Creation”), December 2010: 40-64.
  • 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.
  • Operation Faust & Furioso: A Trans [    ] border Play on the Redistribution of the Sensible, Electronic Disturbance Theater 2.0/b.a.n.g. lab with special guest appearances by Flavia Meireles, Alex Olson, Rolando Palacio, and Katia Tirado, eds. Amy Sara Carroll and Ricardo Dominguez, Leonardo Electronic Almanac (LEA) 21.1 (special issue coordinators Mimi Sheller and Hana Iverson), January 2016. 28-42. 
  • Six nanopoems created with an electron force microscope plus collective statement, *particle group*, BathHouse Journal 11.2 (“Radicalism: Part 2” special issue), May 2014. 
  • “Media dislocativa, una historia de fantasmas (o como frotar piedras en el nombre de trans-cuerpos por convertir-se)/“Dislocative Media, A Ghost Story (or how to rub two stones together in the name of trans [  ] bodies to be/come),” written with Ricardo Dominguez, SITAC IX Teoría y práctica de la catastrophe catalogue, edited by Eduardo Abaroa, Mexico City: PAC/SITAC, 2013. 124-141; 346-362.
  • Sustenance: A Play for All Trans [    ] Borders (chapbook/pamphlet), Electronic Disturbance Theater 2.0/b.a.n.g. lab, eds. Amy Sara Carroll and Ricardo Dominguez. New York: Printed Matter, Inc. (Artists & Activists series), 2010. ReprintsVandal (“[In]Security” special issue), December 2011, pp. 48-63, includes an interview with Carroll and Ricardo Dominguez by Aydé Enríquez-Loya, pp. 64-73, http://www.vandaljournal.com/; Manifesto Now!: Instructions for Performance, Philosophy, Politics, eds. Laura Cull & Will Daddario, Bristol, UK/Chicago, USA: Intellect Ltd., 2013, 159-174 (distributed by the University of Chicago Press).
  • Nanosférica, *particle group* portfolio, “Multimedios,” e-misférica 6.1 (special issue on “Contagion”), Summer 2009.  http://hemi.nyu.edu/hemi/en/e-misferica-61

Carroll's poetry has appeared in various journals and anthologies such as Lana TurnerThe Capilano ReviewPoets 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 featured in numerious exhibitions, including the 2010 California Biennial. She has been awarded artist and writer's residencies at several locations, inlcuding the Saltonstall Foundation, the Virginia Center for the Creative Arts, the Fundación Valparaíso, the University of Mississippi, and the Blue Mountain Center. Summer 2010 and every summer thereafter, Carroll has participated in Mexico City’s alternative arts space SOMA.

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