p. 42: The bruise on her face darkened to the colour of a storm-cloud”

p. 64: When I’d finished i turned the plate upside-down… I swallowed. “Made in China,” I read aloud”

p. 72: She told us about Hiroshima, radiation therapy, Chernobyl, radon, clean energy, and Nagasaki, all in one week, and explained how the same elements could kill and could give life.

p. 78: “There was an orange ring pull, I think from a limited-edition Fanta, and recently I saw this same ring pull in an image of a dead seabird… It had travelled many thousands and thousands of miles and made its way into the entrails of this bird that had died somewhere along the northern coast of Chile”

p. 81: “Sadly, the baby had been born too early and had not survived… She had her arm in a sling. I guess we all assumed that was something to do with the baby too.”

p. 81: The only violence I had noticed, up to that point, had been staged by Rebecca”

p. 133: the spider that had traveled on the banana

p. 161: That day Ms Carr did not have a bruise on her face, or a broken arm, or even the bandages taping two of her finders together, more than once the same two.

p. 175: A few nights later, when the cubs appeared, there was a pool of bright blue liquid with foam around its edges at the foot of a nearby tree.”

p. 197: I asked why Clare had died. She had an infection from a tiny fungus that is present everywhere, in bins and compost heaps or damp in a house… it’s to do with poverty and that’s a complex problem.”

p. 211: At the entrance to the wood a muchkeap had recently been removed to be spread out on the filed, leaving behind it a large oval of stinking black liquid, marbled with petrol rainbows.”
p.97: “I can’t remember a time when Clare began to be ill. It happened in an ongoing way, in the way that most things happened and still happen: without attachment to date or hour, in a suspended present - hovering.”

THE FIRE: 
p. 70: The wiring on the side of the building opposite me…I guess they left the job half finised. It looks dangerous to me but I’m not an electrician”

p. 141: Yesterday, I was woken up in the early hours by my smoke alarm”

p. 217: “At my desk beside the window I could smell real smoke … I’d been so absorbed at my screen that I hadn’t seen it start, or build. I’d been so busy with my story that I hadn’t looked out. My smoke alarm, I realized, was pipping again, but I’d been ignoring that for months…. But the homes of my neighbours, in the flats opposite, had disappeared inside the blaze.”

access to medical treatment or human company withheld over an extended period." (16)

Writing about Slow Violence:
From a narrative perspective, representation of slow violence needs to be "slow paced and open-ended, eluding the tidy closure, the containment, imposed by the visual orthodoxies of victory and defeat" (6) It also over spills clear boundaries in time and space
-> this mirrors the structure and narration of Emergency: the novel is slow paced, open-ended and without containment and over spilling boundaries (no chapters, flow between past and present (also showing the long stretch of time that slow violence requires)). It is also open ended -> no solution is given, no lesson learned. Ending also gives metaphor of "no containment" -> a fire that can't be contained

In life and narrative we tend to want to bracket violence, andd thus we ignore ongoing and belated casualties 

Fiction can make the unseen visible, accessible and tangible

For protagonists violent folklore narratives helped her understand (slow violence): “These stories were useful and sensible. They revealed a disturbingly interesting world beyond my perception, and they taught me that my senses and my intelligence wouldn’t always read everything right.” 

The Ending:
Rhetorically, an example for this can be forebodings and shadows cast by the invisible. In Emergency, slow violence is often presented but not named out front. This changes with the ending of the novel, as readers may experience an epiphany. The beeping fire alarm that is so normal to the narrator that is able to ignore it completely, the dodgy visible electric cables outside the building across from her all become visible in a new way as the reader is made to realize that everything around the narrator is currently on fire - she has just been too busy with her childhood and the violence found there that she wasn't able to take notice.