By Rosalind Pollack Petchesky
A holistic figuring out of abortion from a feminist standpoint, together with the historical past of its perform and country rules to comprise it; the social, financial, and cultural stipulations lower than which ladies put it to use; and the felony, ethical, and political battles that encompass it.
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Extra info for Abortion and Woman’s Choice: The State, Sexuality, and Reproductive Freedom
The production of texts would ensure that the community won't discard him in his "baseness," which he defines as his rejection of the human and animal community in order to write. " He asked that "all diaries, manuscripts, letters . . be burn[ed] unread" upon his death.  He wished to burn the very thing that would save him from burning. In this particular ― 80 ― context, what was good was the Kafka attached to the world, the gentleman who had courted Felice, "the good one, the one that now seems good to us," the one who had shed blood in order to win her.
But then again there is that tyranny which my very existence imposes upon you; this contradiction tears me apart. . " (Letters to Felice , 314). Kafka "consist[s] of" the war between these forces, and his tuberculosis is the inevitable sign of his worldly "bankruptcy" and need to write. " Kafka must be tormented to create; he must have unfulfilled desires. " My point is not that Kafka was an anorexic, but rather that the frame of mind central to the anorexic logic is also central to canonical modernist ideas about literary creativity.
This text, oblique and resistant to interpretation, like all Kafka's literary works, demonstrates through a historical parallel the anorexic logic I claim is central to literary modernism and its designation of gender. For the designation of gender is central to this text as well as others. Although women appear only once, as props to the impresario's staging of the end of the hunger artist's fast, there is a historical referent for the story that has not, to my knowledge, been discussed in reference to Kafka.