Ourselves Unborn

INTRODUCTION: FETAL STORIES; 1. Discovering Fetal Life, 1870s-1920s; 2. Interpreting Fetal Bodies, 1930s-1970s; 3. Defining Fetal Personhood, 1973-1976; 4. Defending Fetal Rights: 1970s-1990s; 5. Debating Fetal Pain, 1984-2007; EPILOGUE: FETAL MEANINGS; NOTES; BIBLIOGRAPHY.

An award-winning historian argues that America's obsession with security imperils our democracy in this "compelling" portrait of cultural anxiety (Mary L. Dudziak, author of War Time). For the last sixty years, fear has seeped into every area of American life: Americans own more guns than citizens of any other country, sequester themselves in gated communities, and retreat from public spaces. And yet, crime rates have plummeted, making life in America safer than ever. Why, then, are Americans so afraid-and where does this fear lead to? In this remarkable work of social history, Elaine Tyler May demonstrates how our obsession with security has made citizens fear each other and distrust the government, making America less safe and less democratic. Fortress America charts the rise of a muscular national culture, undercutting the common good. Instead of a thriving democracy of engaged citizens, we have become a paranoid, bunkered, militarized, and divided vigilante nation.

Josephine McCarty had many identities. But in Albany, New York, she was known as "Dr. Emma Burleigh," the abortionist of Howard Street. On January 17, 1872, McCarty boarded a streetcar in Utica, New York, shot her ex-lover in the face, and disembarked, unaware that her bullet had passed through her target's head and into the heart of the innocent man sitting beside him. The unlucky passenger died within minutes. Josephine McCarty was arrested for attempted murder and quickly became the most notorious woman in central New York. The Abortionist of Howard Street was, however, far more than a murderer. In Maryland she was "Johnny McCarty," a blockade runner and spy for Confederate forces. New Yorkers whispered of her as a mistress to corrupt Albany politicians. So who was she? The prosecution in her murder trial claimed she was a calculating and heartless operative both in the bedroom and in her public life. Or was she the victim of ill fortune and the systemic weight of misogyny and male violence? The answer, of course, was not as simple as either narrative. In this absorbing and rich history, R.E. Fulton considers the nuances of Josephine McCarty's life from marriage to divorce, from financial abuse to quarrels with intimate partners and more, trying to decipher the truth behind the stories and myths surrounding McCarty and what ultimately led her to that Utica streetcar with a pistol in her dress pocket. In The Abortionist of Howard Street, Fulton revisites a rich history of women's experience in mid-nineteenth century America, revealing McCarty as a multifaceted, fascinating personification of issues as broad as reproductive health, education, domestic abuse, mental illness, and criminal justice.

Icons of Life tells the engrossing and provocative story of an early twentieth-century undertaking, the Carnegie Institution of Washington's project to collect thousands of embryos for scientific study. Lynn M. Morgan blends social analysis, sleuthing, and humor to trace the history of specimen collecting. In the process, she illuminates how a hundred-year-old scientific endeavor continues to be felt in today's fraught arena of maternal and fetal politics. Until the embryo collecting project-which she follows from the Johns Hopkins anatomy department, through Baltimore foundling homes, and all the way to China-most people had no idea what human embryos looked like. But by the 1950s, modern citizens saw in embryos an image of "ourselves unborn," and embryology had developed a biologically based story about how we came to be. Morgan explains how dead specimens paradoxically became icons of life, how embryos were generated as social artifacts separate from pregnant women, and how a fetus thwarted Gertrude Stein's medical career. By resurrecting a nearly forgotten scientific project, Morgan sheds light on the roots of a modern origin story and raises the still controversial issue of how we decide what embryos mean.

Human embryos and foetuses are highly public and contested figures. Their visual images appear across a wide range of forums. They have become commercial commodities as part of the IVF industry and are the focus of intense debates regarding concepts of personhood. This book discusses these issues, drawing on social and cultural theory and research.