Home SOS. Katherine Brickell

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for example, Berlant (2007, p. 734) contends that the physical wearing out of a population takes place ‘when that experience is simultaneously at an extreme and in a zone of ordinariness, where life building and the attrition of human life are indistinguishable’. Women’s disproportionate burden for mitigating violence and crisis has, therefore, a likely depletive effect. The very undertaking of the physical and emotional survival‐work necessary in circumstances of domestic violence and forced eviction, becomes normalised in their home making and life building efforts. Revealing the gendered geographies of death and the survival‐work of living on are therefore rendered more possible by being attentive to the under‐studied spatialities and temporalities of the extra‐domestic and its crisis ordinariness. The long‐term crisis‐management work of domestic violence and forced eviction is therefore replete with (further) risks of bodily depletion.

      If the crisis ordinary and survival‐work draws closer attention to women’s experiences of home life, then bio‐necropolitics and precarity bring governmentality into ever greater view. Domestic violence and forced eviction are neglected yet essential parts of debate on bio‐necropolitics. While ‘biopolitical powers work to manage, order and foster life for citizens worthy of protection, such powers work in tandem with necropolitical powers that produce death for those destined to abandonment, violence and neglect’ (Lamble 2013, p. 242). Taking on board recognition of biopower and necropolitics as ‘two sides of the same coin’ in which ‘the explosion of discursive interest in the politics of life itself, in other words, affects also the geo‐political dimension of death and killing’ (Braidotti 2013, p. 9), the book facilitates discussion on women’s experiences of home lived at the edges of life and death. It draws on, and encourages, feminist thinking on the home and female body as a privileged target for the power‐techniques and power‐relations of male‐centred systems of exploitation (Federici 2004).

      The stories of domestic violence and forced eviction told in Home SOS include both literal physical death and also social death, as well as trade‐offs made between them by women and other actors. That domestic violence and forced eviction warrant placing in this life‐threatening register is reflected in statements by the United Nations:

      In the most extreme cases, violence against women can lead to death. Two thirds of victims of intimate partner/family related homicides are women

      (United Nations 2015, np).

      In addition to being a violation of the prohibition on arbitrary or unlawful interference with the home, forced evictions all too often result in other severe human rights violations, particularly when they are accompanied by forced relocation or homelessness. For instance, if no adequate alternative housing is provided, victims of forced evictions are put in life‐ and health‐threatening situations

      (United Nations 2014, p. 1).

      Embracing a feminist geopolitical perspective which remedies how ‘state and statecraft are treated as abstract forces that float above the contingencies of everyday lives and spaces’ (Coleman 2009, p. 904), I bring the home into greater bio‐necropolitical contention by considering women’s killable homes and bodies. That the home is the most likely place globally for a woman to be killed (United Nations Office on Drugs and Crime (UNODC) 2018) renders this task especially prescient. While ‘life and the home are so intertwined that it is almost impossible to think about one without the other’ (Desmond 2016, p. 300), death also has an intimate embrace that requires belated exploration. Scholarship on domicide, ‘the deliberate destruction of home against the will of the home dweller’, is a rare exception in its direct focus on the ‘murder of home’ (Porteous and Smith 2001, p. 3). The destruction of home, Porteous and Smith argue, causes ‘loss of historical connection; a weakening of roots; and partial erasure of the sources of memory, dreams, nostalgia and ideals’ (p. 63). Uncomfortable with the finality of homes unmade in their book, and its lack of nuanced analysis on the impacts of home loss, I pursue a more processual, agentic, and gender‐differentiated course (see also Nowicki 2014 for a critique).

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