The piece does not end, however, in this welling up of shame and pain. The "womb wars" are unlike the wars commanded by military leaders. The wars Zollar urges us to join are about restoring to the body its rights to dignity and privacy, reclaiming the power within women, and creating spaces of safety where these invasions cannot destroy. So, while Womb Wars does not brush away the fragility of the female body, or diminish the threats that relentlessly accrue around her, it ends with a celebration of one woman's ability to rediscover peace and benediction, to resist social control over women's bodies. In the last segment of the piece, the chorus of women gather around the central character, holding flowers and singing [video clip].

In the end, Zollar makes it clear that where the female body bears the brunt of the situation--from the assault and rape to the ensuing decisions made by legislators who seldom have real knowledge of the experience--simplistic, moralistic judgments are dangerous. Her dramatization of her politics through personal testimony, using her body and the bodies of the women in her company literally and metaphorically to bear the weight of the testimony, reveals the epistemic fracture that marks the politics of legislation, the unbridged divide between those who know experientially and those who theorize from a distance. Further, when Zollar places so much emphasis on healing the raped, assaulted body, she shows that being pro-choice does not immediately translate into an anti-life position.