To consider home or homescapes at this point in transnational histories (the 2020s), one must fully acknowledge the global COVID-19 convulsion (a trauma suggesting a metaphorical—and literal—gasping for breath rather than a mere pause or hiatus) and the resulting enforced ‘performing of homes’ in the pandemic years. Objects, artefacts, pathways and rituals of home-dwelling accrued unprecedented pertinence and applicability during this extraordinary period. Our original thinking for this collection was for it to be, assuredly, ‘post-Bachelardian’, expanding beyond his poetics of interior imaginings of home and the architecture of its rooms and structures (Bachelard 1958). We wished to encourage intersectional, pluralist, migratory and hybrid understandings of performed and performative landscapes that would be redolent of the manifestation or aspiration of belonging and place beyond the minutiae of specific, individual house-homes. This ambition was prompted by contemporary attention to migrations. In many cases of forced migration, it is impossible for the migrant to return to the house they once called home, remaining haunted by this home they have left behind even as they struggle to secure a dwelling that could become a new home. Moving the focus of discussions beyond individual house-homes has also enabled, for example, deeper consideration of how Indigenous people have been, and are still, made strangers within their own homes by colonisers’ often violent claim of home. These discussions and debates contribute to the decolonisation of concepts of home and belonging.