SCRATCHING THE SURFACE: THE HOME AND THE HAPTIC IN LAUREN BEUKES'S ZOO CITY AND ELSEWHERE

This paper deploys the haptic, and more broadly speaking, notions of multisensory reading and spectatorship to reconfigure perceptions of home. It explores configurations of home in the practice of the late French-Israeli visual artist, Absalon, to draw tropes of complicity and contagion into an intersection with discourses of moral hygiene arising from the modernist preoccupation with denuded surface in the history of architecture. It then goes on to read a postapartheid South African text, Lauren Beukes's Zoo city (2010), through the lens of these concerns. Beukes's text, it claims, can be made to precipitate the historicity of the white suburban home under apartheid. The novel offers alternative iterations of domesticity, however, as metonymies of contagion shift into metonymies of conviviality. The final section of the paper investigates the vulnerability of the home against the background of the 2014 Israeli war on Gaza and its assault on the built environment. It explores an art exhibition, Postcards for Gaza, staged by the dissident Israeli organization, Zochrot, in the context of a previous military assault on Gaza in 2008. Here the reworking of photographic surface is made to gesture towards the possibility of political reparation in an alternate modality of complicity that Mark Sanders parses as human-foldedness (Sanders 2002).