Tony Kushner’s Homebody/Kabul has been widely examined through postcolonial approaches, with most critics focusing on Postcolonialism, Orientalism, and Western authority. While these studies are valuable, they often give less attention to the psychoanalytical aspect of the play regarding the female characters’ identities. This study addresses this gap by applying Julia Kristeva’s theory of abjection to the analysis of female subjectivity in the play, with particular attention to Homebody, Priscilla, and Mahala. The purpose of this study is to explore how abjection, understood as a psychic process tied to boundary formation, influences the identity and behavior of these characters. Drawing on Kristeva’s Powers of Horror, the study uses concepts such as maternal abject, ambivalence, boundary collapse, and self-abjection to examine moments of attraction, repulsion, and instability of identity in the play. The findings suggest that Homebody’s obsessive attraction to Kabul reflects an abjective desire for what disrupts symbolic order, ultimately leading to the dissolution of her identity. Priscilla’s abortion and attempted suicide are interpreted as acts of self-abjection that arise from failed boundary formation and unresolved separation from the maternal body. In contrast, Mahala represents a different position within the logic of abjection; her body and voice are repeatedly framed as abject by others, yet she maintains a degree of symbolic stability. This study demonstrates that reading Homebody/Kabul through abjection provides a deeper understanding of female identity, embodiment, and psychological crisis. It also shows how Kristeva’s theory can complement postcolonial readings by addressing the psychic dimensions of power, exclusion, and subject formation
