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Amy Sara Carroll AMY SARA CARROLL Department of American Culture and Department of English Language and Literature, The University of Michigan, 505 South State Street, 3700 Haven Hall, Ann Arbor Michigan 48109-1045 [email protected] EDUCATION • Duke University Ph.D. Literature (2004) Certificates in Latin American and Caribbean Studies and Women’s Studies Dissertation: “The Allegorical Performative: Mexican and U.S. Transnational Tactics for Representing and Reinventing the ‘New World Border’” (Directors Fredric Jameson and Antonio Viego; committee members Alberto Moreiras, Janice Radway, and Irene Silverblatt) M.A. Literature (2000) • Cornell University M.F.A. English, Creative Writing (Poetry) (1995) Thesis: “Secession” (Directors Archie Ammons and Kenneth McClane) • University of Chicago M.A. Anthropology (1993) Masters Paper: “Anita Hill and Clarence Thomas: Contemporary Intersections of Race, Sexuality, and Gender” (Directors Jean Comaroff and Terence Turner) • Princeton University A.B. Anthropology and Creative Writing (Poetry), magna cum laude (1990) Senior Thesis: "Cartography: Merging Anthropology and Poetry" (Directors Jorge Klor de Alva and James Richardson) Junior Paper: "Legacies and Transformations of the Myth of Quetzalcoatl" (Director John Kelly) • Richard King High School, Corpus Christi, Texas Valedictorian (from a class of 500) (1986) ADDITIONAL TRAINING • Centro Nacional de las Artes (Mexico City), Summer 2000 Curso Avanzado de Performance • Colegio de México (Mexico City), Summer 1999 Programa Interdisciplinario de Estudios de la Mujer • Universidad de Guadalajara (Mexico), Summer 1989 EMPLOYMENT • University of Michigan, Ann Arbor, Fall 2006-present Assistant Professor of American Culture and English Language and Literature Core faculty, Program in Latina/o Studies Affiliate, Digital Studies Affiliate, Center for Latin American and Caribbean Studies Affiliate, Center for World Performance Studies • Duke University, Spring 2005 Visiting Assistant Professor, English Department • Cornell University, Fall 1995-Spring 1997 Lecturer in Creative Writing, English Department RESEARCH AND TEACHING INTERESTS Latin/x American twentieth and twenty-first century cultural production (art, literature, cinema, and performance), critical theory, American and border studies, postcolonial and ethnic studies, gender and sexuality studies, digital cultures and e-literatures, creative writing (poetry and creative nonfiction) Updated March 2017 Carroll 2 PUBLICATIONS Critical Monographs “Global Mexico’s Coproduction,” work in progress. 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), in production, forthcoming 2017. Spanish translation REMEX: Hacia una Historia del Arte de la era del TLC. México: Siglo XXI Editores (Serie Zona Crítica), manuscript in preparation. Poetry Collections FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography (with a foreword by Claudia Rankine). New York: Fordham University Press, 2013 (distributed by Fordham and Oxford University Presses). (104 pages) Winner of Fordham University’s 2011-2012 Poets Out Loud Prize, selected by Claudia Rankine SECESSION (a full color collection of poems and prints with an introduction by Holly Hughes, two critical essays by Laura Gutiérrez and Evie Shockley, and two interviews with Amy Sara Carroll by Heidi Bean and Carlos Amador and Rachel Price). San Diego: Hyperbole Books (an imprint of San Diego State University Press), 2012. (194 pages) Winner of the 2013 Louis I. Bredvold Prize for Scholarly or Creative Publication, University of Michigan, Department of English Language and Literature; Winner of the 2013 Golden Crown Literary Society (GCLS) Poetry Award Collaboratively Authored Hybrid Works (Poetry/Code/Creative nonfiction) “CODESWITCH: The Transborder Immigrant Tool,” Electronic Disturbance Theater 2.0/b.a.n.g. lab, coedited by Amy Sara Carroll and Ricardo Dominguez, work in progress. [({ })] The Desert Survival Series/La serie de sobrevivencia del desierto (bilingual edition, Creative Commons license), 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, Spanish 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 Office of Net Assessment (The University of Michigan Digital Environments Cluster Publishing Series, coordinators Tung-Hui Hu and John Cheney-Lippold), 2014. (88 pages) Digital redistribution • CTHEORY and CTheory Books BLUESHIFT series, edited by Arthur and Marilouise Kroker. University of Victoria, British Columbia, Canada, 2015. http://ctheory.net/articles.aspx?id=744 http://pactac.net/ctheory-books/blueshift-series/the-transborder-immigrant-toolla-herramienta- transfronteriza-para-inmigrantes/ • 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. http://www.truthdig.com/arts_culture/item/transborder_immigrant_tool_series_poetry_survival_us_mexico _border_20160808 • HemiPress (Hemispheric Institute of Performance and Politics Publications, New York University, New York, NY), multilingual TOME edition (Gestures series) with Nahuatl translations of poetry by Martín Updated March 2017 Carroll 3 Vega Olmedo and Eduardo de la Cruz Cruz, Mixe translations of poetry by Luis Balbuena Gómez, and essays by Ashley Ferro-Murray and Sergio Delgado, 2017. http://tbt.tome.press Refereed Essays “National Matrimony: Jesusa Rodríguez and Liliana Felipe’s Molcajete Cabaret,” Journal of Narrative Theory (JNT) (“Women’s Experimental Forms” special issue, edited by Rowena Kennedy-Epstein), forthcoming 2018 “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), forthcoming 2017 “[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. http://static1.1.sqspcdn.com/static/f/707453/27416587/1484690251200/Carroll- PDF.pdf?token=peMMzNrzPx4pbz%2BDyPxumG0kgug%3D “From Papapapá to Sleep Dealer: Alex Rivera’s Undocumentary Poetics,” Social Identities: Journal for the Study of Race, Nation and Culture 19.3-4 (“Political Documentary Cinema in Latin America: Concepts, Histories, Experiences” special issue, edited by Kristi Wilson and Antonio Traverso), May-July 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 (2012) (“Revolutions and Heterotopias” special issue, edited by Micol Seigel, Lessie Jo Frazier, and David Sartorius). http://escholarship.org/uc/item/4bp4x1sg “EDT 1.0, EDT 2.0, EDT 3.0” and selection of poetry from the Transborder Immigrant Tool, Errata# Revista de Artes Visuales 3 (“Cultura Digital y Creación/Digital Culture and Creation” special issue), December 2010: 40-64. http://issuu.com/revistaerrata/docs/errata_3_cultura_digital_creaci_n “Muerte sin fin: Teresa Margolles’s Gendered States of Exception,” The Drama Review (TDR) 54.2 (T206), Summer 2010: 103–125. “‘Accidental Allegories’ Meet ‘The Performative Documentary’: Boystown, Señorita Extraviada, and the Border- Brothel→Maquiladora Paradigm,” SIGNS: Journal of Women in Culture and Society 31.2, Winter 2006: 357-396. “A Critical Regionalism: The Allegorical Performative in Madre por un día and the Rodríguez/Felipe Wedding,” e- misférica 2.2 (“Sexualities and Politics in the Americas” special issue, edited by Antonio Prieto Stambaugh), 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. Essays in Edited Volumes “Lesbianism-Poetry//Poetry-Lesbianism,” The Cambridge Companion to Lesbian Literature, edited by Jodie Medd. Cambridge: Cambridge University Press, 2015. 188-203. “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. “La lateralización de la historia, Maquilapolis y el efecto de los años 2000 y 2001,” Representación y fronteras: el performance en los límites del género, edited by Hortensia Moreno and Stephany Slaughter. México: UNAM/PUEG/UNIFEM, 2009. 187-201. Reviews and Encyclopedia Entries Review of Diana Taylor and Roselyn Costantino, eds., Holy
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