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  • Faculty

  • Amy Sara Carroll

    Assistant Professor of Literary Studies


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    Amy Sara Carroll


    Poet-scholar Amy Sara Carroll’s books include SECESSION (2012), FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography (2013), and REMEX: Toward an Art History of the NAFTA Era (2017). She also coauthored [({  })] The Desert Survival Series/La serie de sobrevivencia del desierto (2014). Since 2008, Carroll has been a member of Electronic Disturbance Theater 2.0, coproducing the Transborder Immigrant Tool. Summer 2010 and every summer thereafter, she has participated in Mexico City’s alternative arts space SOMA. Carroll was a 2017-2018 Fellow in Cornell University’s Society for the Humanities and a 2018-2019 Fellow in the University of Texas at Austin’s Latino Research Initiative. At The New School she teaches literature and creative writing in Eugene Lang College of Liberal Arts' Department of Literary Studies.

    Degrees Held


    PhD and MA Literature

    Certificates in Latin American and Caribbean Studies and Women’s Studies


    MFA English, Creative Writing (Poetry)


    MA Anthropology


    AB Anthropology and Creative Writing (Poetry), magna cum laude

    Recent Publications



    REMEX: Toward an Art History of the NAFTA Era. Austin: The University of Texas Press (Mellon Latin American and Caribbean Arts and Culture publishing initiative), 2017.

    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).

    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 Carroll by Heidi Bean and Carlos Amador and Rachel Price). San Diego: Hyperbole Books (an imprint of San Diego State University Press), 2012.

    Collaboratively Authored Hybrid Texts (Poetry, Code, Creative Nonfiction)

    [({    })] 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 Carroll, Spanish translations by Francheska Alers-Rojas, Julieta Aranda, Elizabeth Barrios, Carroll, 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. Web.

    Electronic Literature Collection 3, edited by ELC3 Collective Stephanie Boluk, Leonardo Flores, Jacob Garbe, and Anastasia Salter, 2016. Web.

    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. Web.

    Truthdig, Arts & Culture section, complete set of poems published serially, 2016-2017. Web.

    Hemi Press (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 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. Web.


    Refereed Essays

    “When School is a Factory, Where is Ana Mendieta?” The Volta, “Evening Will Come: A Monthly Journal of Poetics” 65 (“Poetry and | of | in Power” special issue, edited by Evie Shockley), April 2017. Web. Reprint: Best American Experimental Writing 2018, guest-edited by Myung Mi Kim. Middletown, CT: Wesleyan University Press, 2018. 51-55.

    “[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. 1-10. Web.

    “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). 1-30. Web.

    “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.

    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.

    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.

    Catalogue and Exhibition Essays

    “As Darkroom Is to Light Box, Lourdes Grobet’s Hora y media is to Ingrid Hernández’s La maquila golondrina,” The Matter of Photography in the Americas, edited by Natalia Brizuela and Jodi Roberts. Palo Alto: Stanford University Press and Cantor Arts Center, 2018. 128-133.

    “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.

    “Tina Modotti’s ‘Wonderfull’/Lo ‘Wonderfull’ de Tina Modotti,” commissioned post on Open Space in response to the exhibition Photography in Mexico, the SFMOMA blog, San Francisco Museum of Modern Art, San Francisco, CA, June 2012. 1-2. Web.

    “Todos Somos Echolalia: A Response to Becoming Transreal,” The Transreal: Aesthetics and Politics of Crossing Realities, edited by Zach Blas and Wolfgang Schirmacher. New York/Dresden: Atropos Press, 2012. 85-89.


    “As in We Will Not Pass,” Academy of American Poets, Poem-a-Day,, August 23, 2018. Web.

    Eight Spanish/English poems from the Transborder Immigrant Tool with Arabic, Portuguese, Greek, Mandarin, and Malayalam translations, Aster(ix): A Journal of Literature, Art, Criticism (“Kitchen Table Translation” special issue, print and digital editions), Summer 2017.

    “BRRINNG!” and “re/D/act,” Affect and Audience in the Digital Age: Translational Poetics, curated by Amaranth Borsuk. Los Angeles: Essay Press, Fall 2016. 2-3, 23.

    “Ze” and reprint of untitled poem, Aster(ix): A Journal of Literature, Art, Criticism (“What We Love” special issue), Fall 2016.

    “MAY DAY || May 2nd” and “The Epic of American Civilization,” DATABLEED V, September 2016. Web.

    “The Day José Died,” Pastelegram, November 2015. Web.

    “7 Lights after Paul Chan,” “Lumbar Puncture,” “Ganas de Canas,” “LICE,” “Still Life,” and “Escape//Hatch,” POOL: a journal of poetry 14, August 2015. Web.

    Two limited edition broadsides with untitled poems in English and Spanish (designer Jan Murray), distributed by the University of Mississippi, June 2015.

    “Think Pink,” “‘I see Mexicans dead people,’” and “Beginnings,” Lana Turner: A Journal of Poetry and Opinion 7, October 2014.

    Nine poems from the Transborder Immigrant Tool’s “Desert Survival Series” and Statement by Carroll (in English and Spanish) and interview with Carroll, Elizabeth Barrios and Mary Renda, Tiresias: Culture, Politics and Critical Theory 6 (“Elements of Matter” special issue), October 2014, 2-26 and 133-151; Statement by Carroll and select poems from the “Desert Survival Series” (in English and Spanish).

    Alegoría” and “Despierta,” The Capilano Review 3.23 (“Languages” special issue, edited by Sarah Dowling), May 2014.

    “Lost Object,” “The Beets,” and “Speed Queen” (set of three image-poems distributed as limited-edition postcards), Displaced Press, May 2011.

    “Built Environmental –isms,” two untitled poems from the Transborder Immigrant Tool (with translations by Petra Kuppers [German] and Yanoula Athanassakis [Greek]), and two earth art poems from the Public Poetry Project featured on Poets for Living Waters (a poetry action), June 2010. Web.

    “Pipe Dream” and “Family Portrait,” HOW2 (“Performance and Poetry” special issue), December 2009. Web.

    “‘Lloro cuando se quema el arroz…’” and “The Beets,” Version, November 2009. Web.

    “What Is the Difference Between Globalization and Neoliberalism?”, “Corpus Christi Corrido,” and “Transition (song of my cells),” vandal (“Borders and Walls” special issue, edited by Angie Cruz), September 2009 Reprint: “What Is the Difference Between Globalization and Neoliberalism?”, Aster(ix): A Journal of Literature, Art, Criticism, Fall 2013. Web. Reprint: Aster(ix): A Journal of Literature, Art, Criticism, special issue “(Un)bound: Five Years of Asterisms,” Winter 2018/2019.

    “Arrested Development,” Jubilat 16, Summer 2009

    “i” and “Process Note,” Rattle (“Tribute to Visual Poetry” special issue), Summer 2008

    Transparent I” & “Transparent II” in “Anarcha-Anti-Archive” (curated by Petra Kuppers and Jay Steichmann), Liminalities: A Journal of Performance Studies 4.2 (2008). Web.

    “Let Down,” “Ovulation,” “Late Onset Particle Capitalism,” and “Thrombotic” in Not for Mothers Only: Contemporary Poets on Child-Getting and Child-Rearing, edited by Catherine Wagner and Rebecca Wolff, Fence Books, May 2007.

    “Imagine” and “Papantla,” Talisman (“Poetry from North Carolina” special issue, edited by Joseph Donahue), Fall 2005.

    “To Amuse,” Carolina Quarterly, Fall 2005.

    “Simultaneous Translation,” The Displayer (chapbook), Lucipo (Lucifer Poetics Group), Triangle Area, North Carolina, June 2005.

    “March,” “San Patricio,” “Breathe,” and poem-prints “D,” “LL,” and “V/W” along with interview (by Heidi Bean), The Iowa Review, June 2004. Web.

    “Tough Girl,” chapbook, Lucipo (Lucifer Poetics Group), Triangle Area, North Carolina, June 2004.

    “Una parábola de un paraguas,” Fusión, October 2002.

    Poem-print “Interracial,” This Bridge We Call Home: Radical Visions for Transformation, edited by Gloria Anzaldúa and AnaLouise Keating, Routledge, 2002.


    “Of Co-Investigations and Aesthetic Sustenance: A Conversation between Colectivo Situaciones and Electronic Disturbance Theater 2.0/b.a.n.g. lab,” by Carroll, Ricardo Dominguez, and Colectivo Situaciones, Collective Situations: Readings in Contemporary Latin American Art, 1995-2010, edited by Grant H. Kester and Bill Kelley Jr., Durham: Duke University Press, 2017. 309-320.

    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, edited by 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. Web.

    “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),” by Carroll and Ricardo Dominguez, SITAC IX Teoría y práctica de la catastrophe (catalogue), edited by Eduardo Abaroa, Mexico City: PAC/SITAC, 2013. 124-141; 346-362.

    “The Transborder Immigrant Tool,” Electronic Disturbance Theater 2.0/b.a.n.g. lab with Grant Wahlquist (interview/essay), 2010 California Biennial (catalogue), curator Sarah C. Bancroft. Newport Beach, California: Orange County Museum of Art and DelMonico Books, Prestel, 2010. 56-59.

    Sustenance: A Play for All Trans [    ] Borders, Electronic Disturbance Theater 2.0/b.a.n.g. lab, edited by Carroll and Ricardo Dominguez. New York: Printed Matter, Inc., July 2010. Reprint: vandal (“[In]Security” special issue), December 2011, includes an interview with Carroll and Dominguez by Aydé Enríquez-Loya. 48-73. Reprint: Manifesto Now! Instructions for Performance, Philosophy, Politics, edited by Laura Cull & Will Daddario, Bristol, UK/Chicago, USA: Intellect Ltd., 2013, 159-174 (distributed by the University of Chicago Press).

    Op-ed, Electronic Disturbance Theater 2.0/b.a.n.g. lab, The San Diego Union-Tribune (respondent: Republican Congressional Representative Duncan Hunter), March 2010.

    Nanosférica, *particle group* portfolio, eds. Carroll and Ricardo Dominguez. “Multimedios,” e-misférica 6.1 (special issue on “Contagion”), Summer 2009. Web.

    Research 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, creative nonfiction, hybrid texts)

    Awards And Honors


    REMEX: Toward an Art History of the NAFTA Era

    Honorable Mention for the 2019 College Art Association, Association for Latin American Art-Arvey Foundation Book Award

    Honorable Mention for the 2017 Modern Language Association Katherine Singer Kovacs Prize

    Shortlisted for the 2018 Association for the Study of the Arts of the Present Book Prize

    Honorable Mention for the 2018 Latin American Studies Association Mexico Award in the Humanities

    FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography

    Winner of Fordham University’s 2012 Poets Out Loud Prize, selected by Claudia Rankine


    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


    Latino Research Initiative, University of Texas at Austin, Research Fellowship, 2018-2019

    Cornell University Society for the Humanities, Ithaca, NY, Society Fellowship, 2017-2018

    NEH Seminar, “Walter Benjamin’s Later Writings: The Arcades Project, Commodity Culture, Historiography,” University of California, Irvine, Irvine, CA, Fellowship, Summer 2011

    Rockefeller Humanities Fellowship, Centro Regional de Investigaciones Multidisciplinarias—UNAM (Cuernavaca, Mexico), Program: “Cultural Dimensions of the Mexican Transition: Migration, Culture, Gender, and Violence,” Summer 2006 (declined)

    Mellon Postdoctoral Fellowship, Latino Studies, Northwestern University, Evanston, IL, English Department, 2005-2006

    The School of Criticism and Theory Seminar, “Ritual, Play, and Performance,” Cornell University, Ithaca, NY, Fellowship, Summer 2004

    Latin American Writers Conference, Taxco, Mexico, Poetry Fellowship, January 1997


    Blue Mountain Center, Blue Mountain Lake, NY, Aster(ix) writer/artist in residence, September 2016

    University of Mississippi, Oxford, MS, Summer Poet in Residence, 2015

    SOMA, Mexico City, Mexico, Artist/writer in residence, July 2019, July 2018, July 2017, July 2016, July 2015, August 2014, July 2013, July 2012, August 2011, July 2010

    Fundación Valparaíso, Mojácar, Spain, Writer in residence, June 2003

    Virginia Center for the Creative Arts, Amherst, VA, Artist/writer in residence, August 1998

    Saltonstall Arts Colony, Ithaca, NY, Artist/writer in residence, August 1997, July 1996

    Current Courses

    Advanced Poetry (Fall 2019)

    Gloria Anzaldua

    Intermediate Multi-genre

    RFW Poetry (Fall 2019)

    Senior Seminar: Poetry

    The Inter-American Text-Image

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