Domestic beating is staged as a socially legible “comedy” and household governance, where paternal authority polices the boundary between sanctioned discipline and disavowed violence, exposing how language and spectatorship normalize harm. The poem critiques familial and cultural logics that render children beatable bodies and recast maternal affect as “incapable of violence,” tracing how power, gendered hysteria, and the fading of parental roles reorganize intimacy after the beatings end.

Pandemic isolation exposes the “collective body” as a contested biopolitical field where care, immunity, and surveillance are mobilized both to protect life and to intensify neoliberal-authoritarian control, especially across post-socialist and Southern European contexts marked by weakened public institutions and resurgent nationalism. Against this fragmentation, feminist-led protest cultures and socially engaged art practices propose an emergent, tissue-like collectivity—grounded in solidarity, anti-fascist memory, and ecological interdependence—that resists privatized self-care, canceling logics, and the unequal geopolitical distribution of care.