Abjection in Harold Pinter’s The Homecoming: An Exploration of Power, Identity, and the Breakdown of Boundaries

Harold Pinter’s The Homecoming is an insightful exploration of power, identity, familial relationships, and the disconcerting aspects of the human psyche threatened with harsh, unyielding truths. A major theme running through the play is the idea of abjection, a term developed by philosopher Julia Kristeva to characterise the human response to something inherently disturbing or disgusting, something that breaks down barriers and upends the status quo. In Pinter’s play, this theme emerges through violence, emotional coercion, and the dehumanising treatment of people, all of which contest society standards. This paper will analyse how power conflicts, fragmented identities, and the uncertain roles of women, along with the blurring of borders, accentuate the disorienting impact of abjection. Pinter destabilises the characters’ lives and undermines the audience’s sense of stability, compelling both to confront alarming realities about human nature and social order. The convergence of these themes reveals the perplexing psychological truths that arise when the familiar is disrupted by irrepressible forces, resulting in discomfort for both characters and the audience.