Feminist Depictions of Coercive Control in ‘Domestic Noir’: Ilsa Evans’s Broken (2007) and Kathryn Heyman’s Storm and Grace (2017)

Abstract

Concurrent with increasing social and legal discussions of coercive control, literary scholars are turning their attention to analyses of an emergent genre labelled ‘domestic noir’. Adding to earlier work, particularly that of Deborah Philips (2021), ‘Gaslighting: Domestic Noir, the Narratives of Coercive Control’, Women: A Cultural Review 32:2, pp. 140–160 and Meg Vann (2019), ‘Genre and Gender: Reading Domestic Noir through the Lens of Feminist Criminology’, TEXT Special Issue 57, pp. n.p., this paper contributes a therapeutic history of interventions for domestic violence, highlighting the history of the concept of control contextualized by its emergence from second wave feminism. Critical analysis of two novels, Ilsa Evans’ Broken (2007) and Kathryn Heyman’s Storm and Grace (2017), demonstrate writers centralizing feminist critiques of coercive control in domestic noir in the Australian context. This paper highlights the significance of women’s fictional representations of coercive control as sites of discursive sociocultural resistance and temporal political contextualization within the genre.

Keywords:

• coercive control
• domestic noir
• feminist criminology
• second wave feminism
• Australian fiction

Acknowledgements

I gratefully received a Career Disruption Grant from the Australian Sociological Association (TASA) to support the development of this paper.

Disclosure Statement

No potential conflict of interest was reported by the author(s).

Correction Statement

This article has been corrected with minor changes. These changes do not impact the academic content of the article.