Why hasn't the abortion controversy in 40-plus years given rise to a significant body of literature and art? Journalism — yes. Propaganda — certainly. And propagandistic journalism — entirely too much. But of works of authentic artistic sensibility and creativity focused on the abortion theme there are hardly any. Why?
An explanation comes readily to mind on the pro-abortion side. Doesn't it stand to reason that the culture of death should be sterile? An ideology and an accompanying mindset committed to destroying life hardly constitute a friendly emotional and spiritual environment for creativity.
As for the pro-life side, a good part of the answer may reside in the fact that the culture of death controls access to most of the outlets for intellectual and creative expression in secular society. Writers and artists who might feel inclined to express pro-life leanings need to think twice.
A notable illustration of the problems they can expect was provided by an incident in 1988. The distinguished Catholic novelist Walker Percy, winner of the National Book Award and other honors, sent a pro-life letter to The New York Times.
The newspaper neither published the letter nor acknowledged it. Dr. Percy wrote a second time to verify its receipt. The Times maintained stony silence. So much for letting the other side have its say. For those who may be interested, Percy's letters can be found in his posthumous collection of essays, Signposts in a Strange Land.
Considered in this light, it's remarkable that the movie Bella ever got made. It has yet to be seen whether it will be widely viewed. Bella is deeply Catholic and deeply pro-life. It is not propaganda. "A mediocre film that wows crowds," sniffed a Variety.com reviewer, apparently oblivious of the fact that he was contradicting himself. Winner of a top award at Toronto's International Film Festival last year, it is expertly made, expertly acted, and profoundly moving.
Directed by Alejandro Monteverde, and written by Monteverde and Patrick Million, Bella features Eduardo Verastegui as Jose, chef in an upscale Mexican restaurant in New York, and Tammy Blanchard as Nina, a waitress who loses her job for coming late to work. (It is extrinsic to the movie itself, but Verastegui is a former heartthrob of Mexican soap operas who experienced a conversion several years ago and now aims to dedicate his talents to God.)
Turns out Nina was late because, though unmarried, she's pregnant and suffering from morning sickness. Jose befriends her, and they spend the day together. She's planning to have an abortion. Recalling a horrendous incident in his own past, he tries to talk her out of it, but she isn't persuaded. They visit his parents on Long Island, have a family meal, walk on the beach.
That's about the whole of it, but along the way the audience enters intimately into these two people's lives. More than one handkerchief was being dabbed at its owner's eyes as the screening I attended concluded.
Bella is scheduled for theatrical showing in some parts of the country later this summer. Hoping to build demand for their movie, the producers offer it to groups for private viewing. Those who want information are invited to call 888-474-6025.
In his letter to The New York Times, Walker Percy noted that battle lines on abortion are so set it's hardly worth repeating arguments any more. Quite so. But, as Blaise Pascal long ago observed, "the heart has reasons that reason cannot know." It is the genius of Bella to speak those deep reasons of the heart.
