Women Under The Knife

In the nineteenth century, major developments in internal surgery were due to operations on ovaries. Women bore the brunt of surgical experimentation and also reaped its rewards. Their need was great, but so was their compliance. From the first operation in America in 1809, much suffering was relieved at the expense of prolonged surgery endured by both black slaves and prosperous whites. Later, in the Victorian era, many surgeons looked at certain types of behavior as reasons for mutilating operations. Such procedures as "spaying" and clitoridectomies were performed to "cure" hysteria and masturbation, as well as questionable interventionalist surgery in pregnancy and childbirth which still continue today. Women Under the Knifeis an extraordinary history, giving a vivid picture--medical, literary, and sociological--of Victorian society in America and Europe.

This gritty translated novel locates the power of resistance in women, and in the pen. In A KNIFE IN THE SKY, a journalist's decision to talk and a student's desire to know puts them in the crosshairs of a murderous dictatorship. As the novel opens, Mika is dangerously engaged in the pursuit of truth during Haiti's first Duvalier regime. Nearly thirty years later, her granddaughter Junon witnesses the repressive dynasty's unravelling. Brutal, terrifying, and hopeful, A KNIFE IN THE SKY is an homage to those who have survived tyranny. Originally published by Éditions du Remue-mènage in 2015 as Femmes au temps des carnassiers, this book, like most of the author's oeuvre, is preoccupied with colonial imposition. Marie-Célie Agnant writes on the ruthlessness of a dictatorship, on humanity, and locates the strength and power of resistance in women. "The work is shaped through a rich, crafted language that creates an acute awareness of what duvalierism was. This considerable effort is not a catharsis, nor an anamnesis; rather, it is the heart-rending testimony of the suffering, the inner struggles and the stand against Duvalierism of a woman caught in the midst of a regime that redefined the heights of horror."--Alain Saint-Victor, Potomitan "Marie-Célie Agnant's work is noble: she names and narrates terrible emotions and chaos, yet always in a sensitive and poetic way. The fate of the women in her books is not sealed by the torment of their daily lives, but in the humanity of each one. Through these portraits of women--courageous women, women who are full of hope, even without underestimating the weight on their shoulders--Agnant shows us the pain they carry from one generation to the next."--Le Fil Rouge Fiction.

*A New York Times Editors' Choice* Pick *A Most Anticipated Read in LitHub, CrimeReads, Thrillist, and Popsugar* The kinetic story of a sixty-five-year-old female assassin who faces an unexpected threat in the twilight of her career—this is an international bestseller and the English language debut from an award-winning South Korean author At sixty-five, Hornclaw is beginning to slow down. She lives modestly in a small apartment, with only her aging dog, a rescue named Deadweight, to keep her company. There are expectations for people her age—that she'll retire and live out the rest of her days quietly. But Hornclaw is not like other people. She is an assassin. Double-crossers, corporate enemies, cheating spouses—for the past four decades, Hornclaw has killed them all with ruthless efficiency, and the less she's known about her targets, the better. But now, nearing the end of her career, she has just slipped up. An injury leads her to an unexpected connection with a doctor and his family. But emotions, for an assassin, are a dangerous proposition. As Hornclaw's world closes in, this final chapter in her career may also mark her own bloody end. A sensation in South Korea, and now translated into English for the first time by Chi-Young Kim, The Old Woman with the Knife is an electrifying, singular, mordantly funny novel about the expectations imposed on aging bodies and the dramatic ways in which one woman chooses to reclaim her agency.

Handsome, charming, and a fixture on the New York City club scene, Dean Faiello had built a thriving beauty business. But money was never enough for Faiello, whose hard-partying ways constantly left him on the edge of ruin. So he did the unthinkable and worked as a cosmetic surgeon—even though he had no medical degree, or training whatsoever. In the spring of 2003, a beautiful, successful woman named Maria Cruz went to "Doctor" Faiello for a relatively simple cosmetic procedure...and succumbed to a fatal complication while under his care. Faiello allegedly buried her corpse beneath a concrete slab at his Newark, New Jersey home—and went on the run. It was only after Cruz's body was found that the true callousness of Faiello's plan would be dissected...and he would be accused of putting her UNDER THE KNIFE

Student volunteer Laurie Masters stumbles onto a ghastly secert at Shadyside Hospital--a secret that the nurses and doctors are willing to kill to cover up.

'This is history with a surgeon's touch: deft, incisive and sometimes excruciatingly bloody' The Sunday Times 'Utterly eccentric and riveting' Mail on Sunday 'Eye-opening and, frequently, eye-watering . . . a book that invites readers to peer up the bottoms of kings, into the souls of rock stars and down the ear canals of astronauts' The Daily Telegraph How did a decision made in the operating theatre spark hundreds of conspiracy theories about JFK? How did a backstage joke prove fatal to world-famous escape artist Harry Houdini? How did Queen Victoria change the course of surgical history? Through dark centuries of bloodletting and of amputations without anaesthetic to today's sterile, high-tech operating theatres, surgeon Arnold van de Laar uses his experience and expertise to tell an incisive history of the past, present and future of surgery. From the dark centuries of bloodletting and of amputations without anaesthetic to today's sterile, high-tech operating theatres, Under the Knife is both a rich cultural history, and a modern anatomy class for us all.