“Rooting abortion jurisprudence in expressive individualism, the Roe and Casey decisions absolved all of us of our obligation to come to the aid of women in crisis.”
In ‘Killers of the Flower Moon,’ Martin Scorsese serves up an inversion of history as we have come to know it, revealing his larger aim—the correction of memory.
Conceiving of our deepest selves in terms of neuroses and traumas sends us continually back on ourselves in a way that may reproduce rather than redress our anguish.
