The Homecoming is, in one sense, a play about two women, one absent from the home, the dead wife and mother, Jessie, and the wife of the son, Teddy, who comes into the house and takes Jessie’s place, but in taking that place converts it into new functions.

The house is quite clearly associated with the absent wife and mother, the home’s centre, because of its very unhomely qualities. Where there had once been a ‘living-room’ with enclosing walls to make it both warm and safe, there now is an open back wall (‘The back wall, which contained the door, has been removed’). This is quite positively identified for us with the missing woman by her son, Teddy, when he and his wife are first in the room:

As so often in Pinter, suggestions build up behind the formal language, and we can think of the house as having tried to get rid of Jessie, or as having been opened up to more light and more air. But the domestic arrangements have now altered so that Lenny has what he calls ‘a kind of study, workroom cum bedroom’ (p 25) downstairs next to the ‘living room’, much as he might have a room in a large house which had been turned into bed-sitter accommodation.