I successfully defended my dissertation, Writing Against History: Feminist Baroque Narratives in Interwar Atlantic Modernism, in March, 2020. My primary research and teaching areas are Global Modernism as well as British and Global Anglophone literature of the long twentieth century. With a foundation in narrative, feminist, and postcolonial theories, I am interested in the textual facilitation of encounter.

Twentieth-century literary studies in English, from a mile-high view, tends to polarize around early twentieth-century transatlantic modernism and late twentieth-century global anglophone or postcolonialism; my research bridges these geopolitical and literary-historical categories. Within the capacious frame of Global Modernism, I work at the intersections of modernist studies, postcolonial studies, and feminist aesthetics. In general, I pursue questions about how “difficult” texts—in form and content—facilitate recognition of readerly responsibility, which might engender recognition of other kinds of political and ethical responsibility as well.

My next major project, True Crime Discourse: Policing the Limits of Whiteness, develops from my dissertation’s finding that “whiteness” works as an affective technology and a cultural trope that travels in Atlantic Anglophone fiction. In the discourses of crime writing that have developed alongside modern justice and policing practices, shock, shame, and paranoia coerce consensus responses to violations of family and class structures. Even in the genre’s appeal to beauty—aesthetics, eroticism—it reinforces the limits of “taste” that coincide with the limits of whiteness. That is, any violation of the senses or of social expectations is a violation of the rules of whiteness. With a foundation in discourses of power, critical race studies, and affect studies, this research examines fiction, nonfiction, popular and official writing about crime in twentieth and twenty-first century culture. Of particular focus is the relationship of “crime discourse” to shaping social consensus about gender, race, and sexuality as defined by family structures and community identities.


PhD, English, University of Massachusetts, Amherst         
Dissertation: “Writing Against History: Feminist Baroque Narratives in Interwar Atlantic Modernism”
Dissertation Chair: Laura Doyle
MFA, Literary Translation, University of Arkansas                              
Thesis: “Selected Works of Patricia Suárez in English Translation”
Thesis Advisors: John DuVal (director), Miller Williams, Kay Pritchett
MA, English, University of Arkansas 
Honors: Meritorious Pass, Comprehensive Oral Exam
Thesis: “Women and Art in George Eliot’s Verse”
Thesis Advisors: Brian Wilkie (director), Lyna Lee Montgomery, Debra Cohen
BA, English, Henderson State University                            
Minor: Spanish
Honors: Summa Cum Laude


Peer Reviewed Essays
“Surplus Women and Trafficked Women: Tropes of White Womanhood (a.k.a Colonial-Patriarchal Paranoia) in Interwar Atlantic Modernism.” Accepted, Modernism/modernity Print Plus.
“‘So that was her little game! To show us up, as we are’: The Politics of Engagement in the Age of Social Media.” Solicited for the Collected Essays from the Proceedings of the 29th Annual International Conference on Social Justice. Forthcoming, 2020.
“Seeing History in the Baroque Ruins of Elizabeth Bowen’s The Last September: An Indictment of Cosmopolitan Modernism.” The Journal of Modern Literature. Forthcoming Fall, 2020.
“Minoritarian ‘Marvelous Real’: En-folding Revolution in Alejo Carpentier’s The Kingdom of this World.” The Journal of Postcolonial Writing 54.2 (2018): 254-267.

Annaliese Hoehling

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