“I’ve changed my mind; I don’t want to go home”

Abstract

This article considers the motif of porosity and its opposite, impenetrability, in relation to the home or places where we feel at home. It discusses ambiguities in how the physical boundaries of the home—but also of the perceived human subject—are portrayed in the technology-pervaded world of the dystopian science fiction narrative Total Recall. Tracing the story from the 1966 novel by Philip K. Dick, through the 1990 film to the recent remake (2012), allows for a consideration of the changes in our understanding of how the boundaries between the home and its other are culturally conceived and what happens when the integrity of these boundaries are put into question. Despite their differences, we argue that all three narratives use the built structures of walls and the imagery of the container as a way of portraying the basic conflict of an outer world that tries to take possession of the protagonist’s inner life. Tracing narrative shifts, we suggest, can become a vehicle for understanding the ongoing negotiation of boundaries of the “self,” the human body, the home and even the city, and the implications these cultural negotiations have across the period from 1966 to 2012.