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The figure of Anthony Comstock may seem like an odd historical relic: a repressed, puritanical, anti-sex reformer from a bygone past. And yet, because his namesake act has been revived as a potential strategy for limiting access to reproductive healthcare, Comstock is no joke. Today, some Americans see the Comstock Act, passed by Congress in 1873, as a pathway to banning abortion and other reproductive care, effectively jettisoning any need for new Supreme Court abortion rulings or congressional legislation. As scholars of the Gilded Age and Progressive Era, we are uniquely situated to intervene in this dialogue and ensure that contemporary conversations are grounded in historical context. We present this forum not as an exhaustive account of the Comstock Act and its architect, but as aopportunity to highlight the context in which this law, which holds so much potential relevance for our present, was created, enacted, enforced, and challenged. We hope this forum will stimulate further scholarly and public conversations around the nation’s long history of regulating reproductive rights and how that history became entangled with other social anxieties.
Victoria Woodhull was Mrs. Satan. Or at least that is what Harper’s Weekly wanted its readers to see. The popular New York City-based paper published a full-page engraving, by its most famous artist, of Woodhull as the biblical devil in February 1872 (Figure 2). Horns curl away from her skull and spiked wings stand almost as tall as she does. Anthony Comstock, an evangelical Christian who made it his mission to protect public morals, almost certainly imagined the woman who promoted free love as the personification of evil. He needed public support for his crusade, and this cartoon by Thomas Nast helped him win it. Comstock arrested Woodhull on November 2, 1872, for distributing her supposedly obscene newspaper.