Toni Morrison's latest novel, Home (2012) is a story about the Korean-war veteran Frank Money who escapes an insane asylum to travel across a deeply prejudiced America into his past. While the narrative unravels his scars, he is on the mission to rescue his sister Ycidra from the generous physician she works for. Employed as a “helper” (“‘You mean like a nurse!’ ‘No. A helper. I don’t know.’” 57-58), Cree becomes the doctor’s experiment to improve gynecological surgery while at the same time working on techniques of abortion in a much larger eugenics project. As Daylanne English and Susan Schweik have revealed in their latest books (Unnatural Selections 2004, The Ugly Laws 2009), eugenics fundamentally shaped public policy and aesthetic theory in late nineteenth and early twentieth-century America. While immigrants formed an open target for racist thoughts, the pathologizing of the black body had long prepared a much more implicit category of discrimination disguised as salvage medical humanist thought. My paper will take its departure from Tony Morrison's novel to investigate the process of pathologizing the black body to eagerly include it into eugenic discourses. Propaganda films such as the Black Stork were in direct dialogue and response to German products of intense political and scientific communication and can only be discussed in the awareness of a transatlantic connection.