For many months, we have celebrated the conversion of Abby Johnson from abortion clinic director to pro-life activist.  Her conversion is highlighted in her new book, UnPlanned.  We’ve noted here that her conversion was based on seeing pictures of ultrasound.

Despite her support for using graphic image displays (like GAP and the JFA exhibit)  to educate college students about abortion, she has spoken against their use outside abortion clinics.  She reasons that the photos had no effect on her, nor on the women who saw the photos and had abortions anyway.  Of course, this reasoning fails to account for the women who saw the photos and never came into the clinic at all.

We were intrigued by this statement that she made on her Facebook page:

It wasn’t the graphic nature of the ultrasound that turned me away from abortion.  I had seen graphic images before. … I had worked in the lab where the body parts of babies were reassembled.  It was the humanity.  Seeing a child suffer and die, a child who should have been protected.  Humanity is present from the moment of conception.  We must fight to protect it!

This reminds us of something that Joel Belz (World Magazine) wrote a few years ago that we all thought was quite strange at the time:

… when I take issue with Mr. Cunningham’s gruesome pictures, it’s not because they are overly repugnant.  I take issue because they aren’t repugnant enough.  But gripping the heart of the viewer is a subtle matter.  (Not dramatic enough, Joel Belz, World Magazine, January 11, 2003)

Nobody but Belz had ever suggested that our abortion photos were not dramatic enough.  But he was hoping for an image that would capture the precise moment between life and death, the kind of image that Johnson saw on that ultrasound screen.  He went on:

Real emotional involvement comes not with an overly explicit portrayal of death—but with a nuanced portrayal of the delicate balance between death and life.  That’s why the candid photo of a young Vietnamese girl running naked down the highway to escape the horrors of napalm probably had as much influence in the late 1960s as any other single factor in turning American public opinion against the war in southeast Asia.  When the photographer snapped that picture, there were almost certainly plenty of dead bodies lying around.  But what memorably captured the hearts of onlookers around the world was the reality of a young woman teetering between life and death.  And that subtlety changed the course of a war.

Such subtlety has generally eluded us in the war against abortion.  We came close, perhaps, in that wonderful and widely circulated operating room photo a year ago showing a tiny baby’s hand reaching up through the incision in his mother’s abdomen.  But that very pro-life picture, breathtaking as it was, said nothing of the terror of abortion.

There were two other images from Vietnam that he could have mentioned (source):

1. The “Burning Monk” photo, taken June 11, 1963, when Thich Quang Duc sat down in a busy Saigon intersection and set fire to himself to protest the South Vietnamese government.
2. The “Tet Execution” photo, taken February 1, 1968,  captured the precise moment that a Viet Cong prisoner was executed at point-blank range by the chief of the South Vietnamese National Police.

Both of these photos also capture that moment between life and death that Belz was talking about.  We’re guessing that’s why these three photos were perhaps the three most influential photos of the Vietnam era.  Belz hoped that our movement would capture a similar image of abortion.

But until somebody takes that photo, we’ll keep showing the ones we have!  And to be fair, it would be wrong to assume that most people who see our pictures are operating at anywhere near the level of denial that Abby Johnson exhibited when she was running that clinic.  Her case is very atypical and not at all like most people we encounter.  Most people who see the photos, particularly young people, have not yet had one abortion, let alone run a clinic where thousands were performed.  They cannot sustain, at least not for very long, the level of denial that Johnson conjured up each of the many times she looked at abortion pictures outside, and dead bodies inside, that clinic.

Further, we’re convinced that Johnson’s seeing the abortion photos could have had a subconscious effect that actually did contribute to her eventual conversion.  That’s conjecture on our part, but it is quite possible that the photos played a role at the subconscious level that even Johnson doesn’t fully appreciate.