Tracking the monstrous gendered precarity of neoliberalisation through novels and films of 1980s England and contemporary Ireland

This article compares cultural production about 1980s working-class industrial England with that of contemporary, middle-class rural Ireland in order to identify aesthetic through lines in the portrayal of social reproductive violence across both early- and later-stage neoliberalism. It argues that, despite their differences in setting and demographic, novels by Pat Barker and Mike McCormack use peripheral political experience to show the bodies of women bearing the brunt of late capitalism's horrors. Barker's Union Street (1982) serves as an early warning of the neoliberal consensus-to-come, bringing to life the geographic peripheralisation that would accompany deindustrialisation. It portrays the conflicted dynamic between childhood and capital, also anticipating the ways in which care work would increasingly be externalised onto women in the latter half of the twentieth century and beyond. This overlaps with the 1987 film Rita, Sue and Bob Too's portrayal of childhood sexual vulnerability, as well as Letter to Brezhnev (1985) and its rendering of capitalism's consumption of women. Instead of the realism for which these films are known, Union Street uses gothic modes and the motif of vomiting in ‘irrealist’ fashion. So too, Mike McCormack's Mayo-set 2016 novel Solar Bones employs spectrality, as well as ideas of contamination, to evoke the damage wrought by a now-entrenched neoliberalism as it imperils the middle classes. The novel's recognition of female social reproductive labour is more oblique, but women are again shown to be at the coalface of neoliberal violence, their very bodies marshalled to detect and, crucially, resist gendered precarity. In this, I draw parallel with the Dundalk-set film Kissing Candice (2017) , which uses gothic tropes to show rural dispossession writ large through the body of a teenage girl.