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Recent Publication Information for Amy Sara Carroll

TITLE

Secession

AUTHOR

Amy Sara Carroll
Faculty Info

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Amy Sara Carroll's Secession is a breakthrough album of poetry, art, theory, and more from the West Coast's leading publisher in the avant-garde, Hyperbole Books.

Holly Hughes writes that Secession is a "luscious and challenging book" that "evokes the different meanings of secession... [Carroll's] knowledge of the complicated roles that femininities have played in this country's ongoing racial dramas, informs the work, as does a girlhood spent on the border of Texas and Mexico, where questions of nations, maps, and belonging linger. But there are other meanings of secession invoked in this collection, meanings that have a progressive ancestry. Second-wave feminism and early lesbian culture were haunted by the dream of seceding from the patriarchy, and similar aspirations shaped other social change movements. And, while the dream of secession came to be dismissed as naïve or worse in the late twentieth century, contemporary theorists like Jill Dolan and José Muñoz are excavating these leftist secessionist moments and taking a second look at their utopian foundations." Hughes adds that Carroll "flirts with secession on an aesthetic level, as a way to resist the false separations we've created between the word as it exists on the page and as it exists, embodied, on the stage, as well as the separation between the word as text and the word as image."

Secession is the first volume in the Bi Sheng/Juan Pablos Digitovisuo Artifacts series, Hyperbole Books' new publishing line that bridges the semantic and the semiotic.

All recent publications by Amy Sara Carroll

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

All publications by Amy Sara Carroll

SCHOLARLY MONOGRAPH
  • 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 2015. 
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.
ESSAYS
  • “Lesbianism-Poetry//Poetry-Lesbianism,” The Cambridge Companion to Lesbian Literature, ed. Jodie Medd. Cambridge: Cambridge University Press, forthcoming 2014.
  • “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.
  • “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 (actual publication September 2011): 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.
COLLABORATIVE TEXTS
  • [({    })] 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), forthcoming 2014. 
  • Sustenance: A Play for All Trans [    ] Borders (chapbook/pamphlet), Electronic Disturbance Theater 2.0/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 The 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 in numerous exhibitions, including the 2010 California Biennial.

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