ABSTRACT This article critiques Donna Haraway’s slogan ‘make kin not babies’ via a reading of her SF tale ‘The Camille Stories’. It does so by considering the relationship between the care labour practices involved in making both kin and babies. The article has two central operations. It is an explicitly eco-social feminist argument against the use of making kin as an uncomplicated theoretical standpoint in the environmental humanities. At the same time, it deconstructs the iconic feminist ambit to be liberated from housework. These parallel operations emerge by characterising making kin as a kind of housework, which is a deeply ironic evaluation of Haraway’s slogan. Overall the article is a response to the question: how is the work involved in making kin both the same as and different to the labour of making babies? The answer is constructed through the method of literary close reading, paying attention to genre and plot of ‘The Camille Stories’ alongside Fiona McGregor’s novel Indelible Ink [2010. Melbourne: Scribe Publications] and Quinn Eades’s all the beginnings: a queer autobiography of the body [2015. Melbourne: Australian Scholarly Publishing]. These comparative readings enable a reckoning with the gnarly and contradictory implications of ‘making kin’ across contemporary environmental humanities and feminisms.

中文翻译：

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家务劳动的未来：生儿育女的异同

摘要 本文通过阅读她的科幻故事“卡米尔的故事”来批评唐娜·哈拉维 (Donna Haraway) 的口号“让亲人而不是婴儿”。它通过考虑生育亲属和婴儿所涉及的护理劳动实践之间的关系来做到这一点。文章有两个中心操作。这是一个明确的生态社会女权主义论点，反对将亲属关系作为环境人文科学中一个简单的理论观点。同时，它解构了标志性的女权主义范围，从家务劳动中解放出来。这些并行操作的出现，是把亲亲描述为一种家务活，这是对哈拉维口号的一种极具讽刺意味的评价。总的来说，这篇文章是对这个问题的回应：生孩子的工作与生孩子的工作有什么相同和不同之处？答案是通过文学细读的方法构建的，关注“卡米尔故事”的体裁和情节以及菲奥娜·麦格雷戈的小说“不朽的墨水”[2010。墨尔本：Scribe Publications] 和 Quinn Eades 的所有开始：一个奇怪的身体自传 [2015. 墨尔本：澳大利亚学术出版社]。这些比较阅读使人们能够对跨当代环境人文科学和女权主义的“结交亲属”的粗糙和矛盾的含义进行清算。一本奇怪的身体自传 [2015. 墨尔本：澳大利亚学术出版社]。这些比较阅读使人们能够对跨当代环境人文科学和女权主义的“结交亲属”的粗糙和矛盾的含义进行清算。一本奇怪的身体自传 [2015. 墨尔本：澳大利亚学术出版社]。这些比较阅读使人们能够对跨当代环境人文科学和女权主义的“结交亲属”的粗糙和矛盾的含义进行清算。