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Society

Pope Francis, Don't Call Me A Murderer: My Abortion Was My Right

Alice, 28 years old, from Genoa, terminated her pregnancy one year ago. "It is neither a transgression nor disgrace, I only exercised my right to do so."

Pope Francis, Don't Call Me A Murderer: My Abortion Was My Right

A demonstration against gender violence and calling for gender parity Turin, Italy, 2019.

FLAVIA AMABILE

GENOA — Alice Merlo terminated her pregnancy with a pill on September 21, 2020. Last week, returning from a four-day visit to Hungary and Slovakia, Pope Francis condemned women who, like Merlo, choose to end their pregnancies. And yet, Italy's 194 law that authorized the right to abortion in 1978, despite myriad shortcomings, is fundamentally working.

The number of abortions in Italy has been declining for years. This is confirmed by the latest data from the annual report of the Ministry of Health : last year, there were 67,638 abortions, a 7.6% drop that continues a downward trend since 1983. The conscientious objection to abortion applied among gynecologists opposed to the practice is also decreasing, from 68.4% in 2019 to 67% in last year.

Women no longer die from illegal abortions, and yet the Catholic world won't forgive them. The Pope defined pregnancy interruptions as a "homicide." He repeated that "whoever gets an abortion commits a murder, to say it clearly" and that you can see in "any embryology book for Medicine students" that at "the third week after conception, all the organs are already there, even the DNA" and that it is therefore a human life! And this human life must be respected." Francis concluded with a question: "Is it right to kill a human life to solve a problem?"

This was a true attack. Not new but particularly brutal. Alice Merlo refuses to accept the condamnation. "After exactly one year, I don't see myself at all as a murderer. I have not committed a homicide. Getting an abortion is neither a transgression nor a disgrace. I only exercised my right, and rights should not require paying some kind of 'pain fine.'"

Speaking about abortion without shame or anonymity

Merlo is 28 years old, lives in Genoa, works in the communication field and is one of the few women who has accepted to talk about her termination of pregnancy without hiding behind anonymity. On the contrary, she decided to show her face right after the intervention with a Facebook post, and then became a testimonial for a campaign organized by the Union of Rationalist Atheists and Agnostics in favor of pharmacological abortion.

Not only has she decided to talk about her decision, but to do so without having to pay what she calls a "pain fine" to society.

I knew one second after discovering I was pregnant that I didn't want to carry this pregnancy to term.

"It wasn't hard for me to decide, "she says. "I knew one second after discovering I was pregnant that I didn't want to carry this pregnancy to term. I was lucky to avoid facing the world of the conscientious objection to abortion, the gynecologist who followed me medically me was not an objector so she accompanied me in the treatment of Ru486, here in Genoa."

A poster in Milan against the RU486 abortion pill

A billboard against the Ru 486 pill in Milan, Italy, 2020. — Photo: Alberico Massimo/Abaca/ZUMA

Last word goes to who has to carry pregnancy forward

Merlo says she suffered no physical or psychological malady — and that this reality is not accepted by society. "When we talk about abortion we say that there is the 194 law, but that it's always a tragedy, a pain, a scar. Instead it is not always like that, and we shouldn't impose a sense of guilt in the people who do talk about it. There are different ways of telling stories."

When people ask why she didn't carry through with her pregnancy, Merlo responds simply: "I didn't feel like it, it wasn't the right time and I didn't want this embryo to become a baby boy or girl. I did it during the seventh week and I never felt guilt or tormented myself. I made my own choice."

She never told the man with whom she had sex. "We didn't have a stable relationship," she explains. "There was no need to burden him with my choice. In any case, even in a stable relationship the last word goes to who has to carry the pregnancy forward."

Despite her determination, and the availability of the gynecologist, abortion is still presented as an obstacle course, semi-clandestine and guilt-ridden, Merlo says. "You can only go in the morning and without having booked a specific appointment. You are treated like a person performing an act they should be ashamed; of and no medical authority indicates where the abortions are performed. There is a climate of omertà and shadows." And yet the law is simply being respected.

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Society

Where 'The Zone Of Interest' Won't Go On Auschwitz — A German Critique Of New Nazi Film

Rudolf Höss was the commandant of Auschwitz concentration camp who lived with his family close to the camp. Jonathan Glazer's The Zone of Interest, a favorite to win at the Cannes Festival, tells Höss' story, but fails to address the true inhumanity of Nazism, says Die Welt's film critic.

Where 'The Zone Of Interest' Won't Go On Auschwitz — A German Critique Of New Nazi Film

A still from The Zone of Interest by

Hanns-Georg Rodek

-Essay-

BERLIN — This garden is the pride and joy of Hedwig, the housewife. She has planned and laid out everything — the vegetable beds and fruit trees and the greenhouse and the bathtub.

Her kingdom is bordered on one long side by a high, barbed-wire wall. Gravel paths lead to the family home, a two-story building with clean lines, no architectural frills. Her husband praises her when he comes home after work, and their three children — ages two to five — play carefree in the little "paradise," as the mother calls her refuge.

The wall is the outer wall of the concentration camp Auschwitz; in the "paradise" lives the camp commander Rudolf Höss with his family.

The film is called The Zone of Interest — after the German term "Interessengebiet," which the Nazis used to euphemistically name the restricted zone around Auschwitz — and it is a favorite among critics at this week's Cannes Film Festival.

The audacity of director Jonathan Glazer's style takes your breath away, and it doesn't quickly come back.

It is a British-Polish production in which only German is spoken. The real house of the Höss family was not directly on the wall, but some distance away, but from the upper floor, Höss's daughter Brigitte later recalled, she could see the prisoners' quarters and the chimneys of the old crematorium.

Glazer moved the house right up against the wall for the sake of his experimental arrangement, a piece of artistic license that can certainly be justified.

And so one watches the Höss family go about their daily lives: guiding visitors through the little garden, splashing in the tub, eating dinner in the house, being served by the domestic help, who are all silent prisoners. What happens behind the wall, they could hear and smell. They must have heard and smelled it. You can see the red glow over the crematorium at night. You hear the screams of the tortured and the shots of the guards. The Höss family blocks all this out.

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