Abstract
The prochoice/prolife binary organizes conversations about abortion, ultimately creating a hierarchy of abortion narratives according to which some abortions are perceived to be appropriate, more defensible, and more respectable, than others. Even in prochoice spaces, the abortion narratives that are deemed most culturally acceptable and politically effective, that are framed as "good" abortions, occur paradoxically in the absence of fully realized choice. This paper examines two canonical works by US comics artist Diane Noomin in which an aesthetic of the grotesque shifts the discourse around abortion away from the limiting and overpoliticized binary and toward more complex and nuanced narratives that honor people's lived experiences.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
