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  • If These Walls Could Talk.
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Through each of the stories, Johnson demonstrates how truly sense less abortion really is. They are starkly honest, compelling and — truth be told — difficult to read. Consider the failed late-term abortion of Jessica. She sought an abortion at 20 weeks gestation. Halfway through the process, she regretted her decision and begged the clinic doctor to help save her baby.

Believe Walls Do Talk

Not only did he refuse, but he became abusive and angry, forcing her to complete the abortion. When anyone voiced opposition to my career, I shared it proudly. I was not in the business of abortion.

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I was in the business of providing quality healthcare to women. When I went to my supervisors about this, I was instantly shot down. Instead of brainstorming with me about ways that we could reduce abortions, they talked of budgets and the need to increase our cash flow. The way we did that?

Now, These Walls Do Talk

Lily is just one example. Her abortion went awry, and her uterus began to bleed profusely after the baby had been removed from her womb. It was so severe, that she nearly died on the table in the abortion clinic. Clinic staff let her father fret in the waiting room for more than five hours, all the while lying to him that they were simply behind schedule in cases. In the end, Lily and her father left the clinic without ever knowing what had really happened since Lily had been heavily sedated and would never remember.

The lies, greed, deception, and godlessness must be revealed. The Walls Are Talking is about bringing the truth to light.

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For, within its pages, Johnson gives encouragement and support for post—abortive women and men and to abortion providers and clinic workers who seek a way out of the industry. It reminds us of why we fight so hard. We are forgiven. Your email address will not be published. Save my name, email, and site URL in my browser for next time I post a comment. Notify me of follow-up comments by email. Notify me of new posts by email. This site uses Akismet to reduce spam. They live with things on a day-to-day basis. It's always fun to go see what's new.

Bernard, 62, likes to say that life has many chapters. The couple's collection reflects their travels to more than 75 countries, family, memories, professional work, scholarship and a history well beyond the two of them. It is in the two-dimensional art, [and] the sculptures. It's in the historical documents," Bernard says. The Kinseys have one of the most important African American collections in the West, according to Atlanta art dealer, educator and attorney Jerry Thomas Jr.

For a photograph of black Sen. From the Kinseys' collection, she says, "You get the notion of African Americans as a broad people with a broad interest. He [Bernard] doesn't approach the art as mere decoration. He really understands the importance of art, and material culture — documents and books, and to approach it in a very thoughtful and mindful way. He knows where he's going. Visitors pass framed shackles intended for a female slave, circa An sculpture of a slave boy by May Howard Jackson stands sentinel.

He reaches for his earliest pieces: treaties from that gave the British the rights to take slaves from West Africa. He picks up a first-edition copy of the letters of an ex-slave and opera singer Ignatius Sancho published in England in He also owns a first edition of the first book published by a former slave in the U. He runs his fingers across shipping log books that enumerate 3. He reads from letters: A master doesn't have the heart to tell his year-old chambermaid Frances Crawford that he is selling her away from her entire family to pay for horses and a new stable; a benevolent white owner, Mrs.

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Kinsey moves on to a speech by the abolitionist Douglass. The woodcuts, lithographs, tintypes, daguerreotypes and photos chart black images and bridge the centuries. His landscapes, portraits and still lifes introduce 19th century black masters: painters Robert S.

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Duncanson, Henry O. In a hall lined with canvases, Kinsey points out the earliest works and says, "These are the first examples of African American artists painting about and of themselves. Kinsey has them all, and many more.

These walls do talk - Los Angeles Times

While he is busy connecting historical dots, Shirley, 59, is upstairs in the dining room. She is pointing out a Huey Lee Smith painting done in It's not really. The house has an open floor plan, and sunlight bathes every room. But they couldn't do the typical Westside tear-down.

If we tore the house down, we would lose some vested rights," he says, "We had to design around the original foundation. We couldn't just scrap it. Because of the intense sunlight, the oversized windows are shaded like the one behind Shirley in the dining room.