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<em>The year after abortion was legalized in New York State, the maternal-mortality rate there dropped by 45 percent—one reason why legalization can be seen as "a public-health triumph."</em>
<em>The year after abortion was legalized in New York State, the maternal-mortality rate there dropped by 45 percent—one reason why legalization can be seen as "a public-health triumph."Of all the issues roiling the ongoing culture wars, abortion is both the most intimate and the most common. Almost half of American women have terminated at least one pregnancy, and millions more Americans of both sexes have helped them, as partners, parents, health-care workers, counselors, friends. Collectively, it would seem, Americans have quite a bit of knowledge and experience of abortion. Yet the debate over legal abortion is curiously abstract: we might be discussing brain transplants. My files are crammed with articles assessing the question of when human life begins, the personhood of the fetus and its putative moral and legal status, and acceptable versus deplorable motives for terminating a pregnancy and the philosophical groundings of each one—not to mention the interests of the state, the medical profession, assorted religions, the taxpayer, the infertile, the fetal father, and even the fetal grandparent. Farfetched analogies abound: abortion is like the Holocaust, or slavery; denial of abortion is like forcing a person to spend nine months intravenously hooked up to a medically endangered stranger who happens to be a famous violinist. It sometimes seems that the further abortion is removed from the actual lives and circumstances of real girls and women, the more interesting it becomes to talk about. The famous-violinist scenario, the invention of the philosopher Judith Jarvis Thomson, has probably inspired as much commentary as any philosophical metaphor since Plato's</em> cave.