GABBLER RECOMMENDS: ‘Is Abortion Sacred?’ by Jia Tolentino

‘The idea that a fetus is not just a full human but a superior and kinglike one—a being whose survival is so paramount that another person can be legally compelled to accept harm, ruin, or death to insure it—is a recent invention. For most of history, women ended unwanted pregnancies as they needed to, taking herbal or plant-derived preparations on their own or with the help of female healers and midwives, who presided over all forms of treatment and care connected with pregnancy. They were likely enough to think that they were simply restoring their menstruation, treating a blockage of blood. Pregnancy was not confirmed until “quickening,” the point at which the pregnant person could feel fetal movement, a measurement that relied on her testimony. Then as now, there was often nothing that distinguished the result of an abortion—the body expelling fetal tissue—from a miscarriage.
Abortion is often talked about as a grave act that requires justification, but bringing a new life into the world felt, to me, like the decision that more clearly risked being a moral mistake. The debate about abortion in America is “rooted in the largely unacknowledged premise that continuing a pregnancy is a prima facie moral good,” the pro-choice Presbyterian minister Rebecca Todd Peters writes. But childbearing, Peters notes, is a morally weighted act, one that takes place in a world of limited and unequally distributed resources. Many people who get abortions—the majority of whom are poor women who already have children—understand this perfectly well. “We ought to take the decision to continue a pregnancy far more seriously than we do,” Peters writes.’

The scholar Katie Gentile argues that, in times of cultural crisis and upheaval, the fetus functions as a “site of projected and displaced anxieties,” a “fantasy of wholeness in the face of overwhelming anxiety and an inability to have faith in a progressive, better future.” The more degraded actual life becomes on earth, the more fervently conservatives will fight to protect potential life in utero. We are locked into the destruction of the world that birthed all of us; we turn our attention, now, to the worlds—the wombs—we think we can still control.

There is a loss, I think, entailed in abortion—as there is in miscarriage, whether it occurs at eight or twelve or twenty-nine weeks. I locate this loss in the irreducible complexity of life itself, in the terrible violence and magnificence of reproduction, in the death that shimmered at the edges of my consciousness in the shattering moment that my daughter was born. This understanding might be rooted in my religious upbringing—I am sure that it is. But I wonder, now, how I would square this: that fetuses were the most precious lives in existence, and that God, in His vision, already chooses to end a quarter of them. The fact that a quarter of women, regardless of their beliefs, also decide to end pregnancies at some point in their lifetimes: are they not acting in accordance with God’s plan for them, too?

 

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See also:

What we talk about when we talk about post-apocalyptic stories; when the apocalypse is solved through natalist tropes

GABBLER RECOMMENDS: Alexander Calder performs his “Circus” | Whitney Museum of American Art

Alexander Calder shows us what all the amazing wire models that make up his miniature circus can do in this film by Jean Painleve from 1955. Calder is famous for his colorful mobiles, but Cirque Calder is one of his incredible lesser-known works from 1931.

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GABBLER RECOMMENDS: Why We Keep Retelling Persephone’s Story

GABBLER RECOMMENDS: “I have always believed that in our capitalist, consumerist society, we devour each other’ Tender is the Flesh author Agustina Bazterrica on meat-eating, misogyny and cannibals”

I wanted to write about how, in the near future, cannibalism could be legalised, but I needed a story. And the plot that I imagined is this: there is a so-called virus affecting animals rendering them inedible and cannibalism becomes legal. Humans start being butchered in meat-processing plants. The protagonist runs a meat-processing plant and is gifted a female to butcher or raise. That is, he has a naked woman in his possession. I won’t give away what happens later.

Although my book contains clear criticism of the meat industry, I also wrote the novel because I have always believed that in our capitalist, consumerist society, we devour each other. We phagocyte each other in many ways and in varying degrees: human trafficking, war, precarious work, modern slavery, poverty, gender violence are just a few examples of extreme violence.

Objectivising and depersonalising others allows us to remove them from the category of human being (our equal) and place them in the category of a mere “other”, whom we can be violent to, kill, discriminate against, hurt, etc. One clear example: when we allow a 12-year-old girl to work as a prostitute, it shows that there is a part of society that is indifferent, uninterested in that situation, and that another huge part validates it because it benefits them and in the middle of all that there is this little girl being consumed by everyone.

Hannah Arendt, says in her book Eichmann in Jerusalem, whose subtitle is: “A report on the banality of evil”, that the extermination of Jews in Germany and other European countries was not down to the pure evil in Nazi rulers, but to society’s indifference. This massacre, executed by bureaucrats, would not have been possible without the indifference of “good” citizens.

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GABBLER RECOMMENDS: ”How Twitter can ruin a life” by Emily VanDerWerff

She had at least some reason to expect that the complete vacuum of personal information about her — the short author bio attached to the story said only that she was born in 1988 — wouldn’t be questioned. Trans spaces, both online and in real life, have a long history of allowing an anonymity that paradoxically hides within one’s true identity.

If you want to attend a support group meeting and say your name is Isabel and you use she/her pronouns, you will be treated as such, no matter how you look or what name is on your driver’s license. Gatekeeping in a trans space usually involves loosely enforced rules that focus on giving those who exist within them a safe place to explore their identity. Those rules almost never attempt to determine that someone is “trans enough.”

But anonymity isn’t always welcome on the internet, where an anonymous identity can be weaponized for the worst. That gap — between the good-faith anonymity assumed in trans spaces and the bad-faith anonymity increasingly assumed online — was the one Fall wandered into.

At its core, “Attack Helicopter” is about the intersection of gender and American hegemony. On that level, it has plenty to say even to cisgender people. After all, if all gender is on some level a performance (and it is), then it can be co-opted and perverted by the state. But if it’s also innate on some level (and it is), then we are powerless against whatever it is that enough people decide gender performance should look like. We are constantly trapped by gender, even when we know we are trapped by it. You can’t truly escape something so all-pervasive; you can only negotiate your own terms with it, and everybody’s terms are different.

The conversation around gender “is dominated by those who can tolerate and thrive in it. It is conducted by the voices of those who are able to survive speech and its consequences,” Fall says. “But it is a conversation that is, by necessity, reductive. We need teams and groups and identities, not just to belong to, but as mental objects to manipulate and wield. If we tried to hold 10 million unique experiences of gender in our mind they would sift through our fingers and roll away.”

Such a conversation around gender is not particularly conducive to those who are figuring out their gender in public, as all trans people must do eventually. It’s especially not conducive to artists who are exploring their gender in their art, under even greater degrees of public scrutiny. Which is to say: That conversation is not conducive to people like Fall.

The delineation between paranoid and reparative readings originated in 1995, with influential critic Eve Kosofsky Sedgwick. A paranoid reading focuses on what’s wrong or problematic about a work of art. A reparative reading seeks out what might be nourishing or healing in a work of art, even if the work is flawed. Importantly, a reparative reading also tends to consider what might be nourishing or healing in a work of art for someone who isn’t the reader.

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