Lindsey Fitzharris

Als Harold Gillies die Verheerungen des Ersten Weltkriegs mit eigenen Augen sieht, ist er schockiert. Zu viele junge Männer werden nach nur einem falschen Augenblick ihrem Schicksal überlassen: für immer entstellt, für immer Monster in den Augen der Gesellschaft. Nach seiner Rückkehr ins Königreich setzt der junge Arzt alles daran, einen Weg zu finden, um das Leiden zu verringern. Mit stetem Einsatz, vielen Verbündeten und unkonventionellen Methoden baut er die erste »Schönheitsklinik« der Welt auf und kämpft fortan gegen das Stigma einer Generation. Sein Leben wird zum Gründungsakt einer Disziplin, die unsere Gegenwart unmissverständlich prägt. Für die, die schön sein wollen, mussten andere leiden. Denn die Operationen der Schönheitschirurgie – Rhinoplastik, Lidstraffung, Fettabsaugung – haben ihren grausigen Ursprung im Ersten Weltkrieg. Im Schlamm der Schützengräben verlor eine ganze Generation das Gesicht, bis ein furchtloser Arzt den Grundstein legte für eine neue, revolutionäre Disziplin … Lindsey Fitzharris erzählt packend und erkenntnisreich vom Leben dieses Mannes und dem Wert der menschlichen Züge.

Grausig sind die Anfänge der Medizin: Leichenraub, blutige Operationen wie Kirmesspektakel, Arsen, Quecksilber, Heroin als verschriebene Heilmittel. Mitte des 19. Jahrhunderts ist das Unwissen der Ärzte sagenhaft, wie sie praktizieren, ein einziger Albtraum. Bis ein junger Student aus London mit seinen Entdeckungen alles verändert … Lindsey Fitzharris erzählt vom Leben dieses Mannes und vom Horror, den ein einfacher Arztbesuch damals bedeutete – schaurig, unterhaltsam, erhellend. Als Joseph Lister 1844 sein Studium in London beginnt, ist die medizinische Versorgung der Bevölkerung desaströs: Die Krankenhäuser sind überfüllt und verseucht. Um aufgenommen zu werden, müssen Patienten genug Geld für die eigene Beerdigung mitbringen. In den Operationssälen arbeiten Chirurgen in Straßenklamotten vor schaulustigem Publikum. Warum fast alle Patienten sterben, wie sich Krankheiten ausbreiten, darüber herrscht nicht die geringste Einigkeit, nur hanebüchene Theorien. Joseph Lister wird dann Chirurg, er will ganz praktisch helfen. Und von Neugier und hellem Verstand geleitet, entwickelt er eine Methode, die das Sterben vielleicht beenden kann …

Em Medicina dos horrores, a historiadora Lindsey Fitzharris narra como era o chocante mundo da cirurgia do século XIX, que estava às vésperas de uma profunda transformação. A autora evoca os primeiros anfiteatros de operações — lugares abafados onde os procedimentos eram feitos diante de plateias lotadas — e cirurgiões pioneiros, cujo ofício era saudado não pela precisão, mas pela velocidade e pela força bruta, uma vez que não havia anestesia. Não à toa, os mais célebres cirurgiões da época eram capazes de amputar uma perna em menos de trinta segundos. Trabalhando sem luvas e sem qualquer cuidado com a higiene básica, esses profissionais, alheios à existência de micro-organismos, ficavam perplexos com as infecções pós-operatórias, o que mantinha as taxas de mortalidade implacavelmente elevadas. É nesse cenário, em que se considerava mais provável um homem sobreviver à guerra do que ao hospital, que emerge a figura de Joseph Lister, um jovem médico que desvendaria esse enigma mortal e mudaria o curso da história. Concentrando-se no tumultuado período entre 1850 e 1875, a autora nos apresenta Lister e seus contemporâneos e nos conduz por imundas escolas de medicina, os sórdidos hospitais onde eles aprimoravam sua arte, as “casas da morte” onde estudavam anatomia e os cemitérios, que eles volta e meia invadiam para roubar cadáveres. Chocante e revelador,Medicina dos horrores celebra o triunfo de um visionário, cuja busca para atribuir um caráter científico à medicina terminou por salvar milhões de vidas.

In The Butchering Art, the historian Lindsey Fitzharris reveals the shocking world of nineteenth-century surgery on the eve of profound transformation. She conjures up early operating theaters--no place for the squeamish--and surgeons, working before anesthesia, who were lauded for their speed and brute strength. These medical pioneers knew that the aftermath of surgery was often more dangerous than their patients' afflictions, and they were baffled by the persistent infections that kept mortality rates stubbornly high. At a time when surgery couldn't have been more hazardous, an unlikely figure stepped forward: a young, melancholy Quaker surgeon named Joseph Lister, who would solve the deadly riddle and change the course of history. Fitzharris dramatically recounts Lister's discoveries in gripping detail, culminating in his audacious claim that germs were the source of all infection--and could be countered by antiseptics. Focusing on the tumultuous period from 1850 to 1875, she introduces us to Lister and his contemporaries--some of them brilliant, some outright criminal--and takes us through the grimy medical schools and dreary hospitals where they learned their art, the deadhouses where they studied anatomy, and the graveyards they occasionally ransacked for cadavers. Eerie and illuminating, The Butchering Art celebrates the triumph of a visionary surgeon whose quest to unite science and medicine delivered us into the modern world.

Lindsey Fitzharris, the award-winning author of The Butchering Art, presents the compelling, true story of a visionary surgeon who rebuilt the faces of the First World War’s injured heroes, and in the process ushered in the modern era of plastic surgery.From the moment the first machine gun rang out over the Western Front, one thing was clear: humankind’s military technology had wildly surpassed its medical capabilities. Bodies were battered, gouged, hacked, and gassed. The First World War claimed millions of lives and left millions more wounded and disfigured. In the midst of this brutality, however, there were also those who strove to alleviate suffering. The Facemaker tells the extraordinary story of such an individual: the pioneering plastic surgeon Harold Gillies, who dedicated himself to reconstructing the burned and broken faces of the injured soldiers under his care.Gillies, a Cambridge-educated New Zealander, became interested in the nascent field of plastic surgery after encountering the human wreckage on the front. Returning to Britain, he established one of the world’s first hospitals dedicated entirely to facial reconstruction. There, Gillies assembled a unique group of practitioners whose task was to rebuild what had been torn apart, to re-create what had been destroyed. At a time when losing a limb made a soldier a hero, but losing a face made him a monster to a society largely intolerant of disfigurement, Gillies restored not just the faces of the wounded but also their spirits.The Facemaker places Gillies’s ingenious surgical innovations alongside the dramatic stories of soldiers whose lives were wrecked and repaired. The result is a vivid account of how medicine can be an art, and of what courage and imagination can accomplish in the presence of relentless horror.

From the moment the first machine gun rang out over the Western Front, one thing was clear: mankind's military technology had wildly surpassed its medical capabilities. The war caused carnage on an industrial scale, and the nature of trench warfare meant that thousands sustained facial injuries. In The Facemaker, award-winning historian Lindsey Fitzharris tells the true story of the pioneering plastic surgeon Harold Gillies, who dedicated himself to restoring the faces of a brutalized generation.Gillies, a Cambridge-educated New Zealander, established one of the world's first hospitals dedicated entirely to facial reconstruction. At a time when losing a limb made a soldier a hero, but losing a face made him a monster to a society largely intolerant of facial differences, Gillies restored not just faces, but identities and spirits. The Facemaker places Gillies's ingenious surgical innovations alongside the dramatic stories of soldiers whose lives were wrecked and repaired. The result is a vivid account of how medicine and art can merge, and of what courage and imagination can accomplish in the presence of relentless horror.

From the moment the first machine gun rang out over the Western Front, one thing was mankind's military technology had wildly surpassed its medical capabilities. The war's new weaponry, from tanks to shrapnel, enabled slaughter on an industrial scale, and given the nature of trench warfare, thousands of soldiers sustained facial injuries. Medical advances meant that more survived their wounds than ever before, yet disfigured soldiers did not receive the hero's welcome they deserved.In The Facemaker, award-winning historian Lindsey Fitzharris tells the astonishing story of the pioneering plastic surgeon Harold Gillies, who dedicated himself to restoring the faces - and the identities - of a brutalized generation. Gillies, a Cambridge-educated New Zealander, became interested in the nascent field of plastic surgery after encountering the human wreckage on the front. Returning to Britain, he established one of the world's first hospitals dedicated entirely to facial reconstruction in Sidcup, south-east England. There, Gillies assembled a unique group of doctors, nurses and artists whose task was to recreate what had been torn apart. At a time when losing a limb made a soldier a hero, but losing a face made him a monster to a society largely intolerant of disfigurement, Gillies restored not just the faces of the wounded but also their spirits.Meticulously researched and grippingly told, The Facemaker places Gillies's ingenious surgical innovations alongside the poignant stories of soldiers whose lives were wrecked and repaired. The result is a vivid account of how medicine and art can merge, and of what courage and imagination can accomplish in the presence of relentless horror. In this fascinating book, Fitzharris reminds us there is nothing superficial about plastic surgery's ability to heal minds as well as bodies. Five stars -- Kathryn Hughes ― Mail on Sunday Scholarly yet deeply moving... This is a fascinating book about a remarkable man, and of how teamwork is such an important part of good surgery. Despite the grim subject matter, it is a deeply moving and uplifting story -- Henry Marsh ― New Statesman Careful... sensitive... [Fitzharris] has successfully pieced together the story of a team of doctors, hospital workers and patients "battling" together during the First World War to modernize reconstructive plastic surgery... Fitzharris constructs a variegated and tender account of the First World War, its brutality and its narratives of human redemption... Tenderness and pathos pervade the personal stories of surgery and recovery, as well as Fitzharris's engagement with the ethics of facial difference and display -- Christine Slobogin ― TLS The Facemaker is an engaging biography of a masterful surgeon as well as a heartening account of medical progress ― Economist Meticulously researched... Five stars -- Catharine Arnold ― Telegraph Sometimes distressing, sometimes thrilling, The Facemaker had me gripped; it is elegantly written and endlessly fascinating. Employing just the right balance between diligent research and ingenious reanimation, Fitzharris brings to life a neglected slice of medical history, telling both Gillies' story as well as that of many of the men whose faces - and lives - he saved -- Lucy Scholes ― Financial Times Engrossing... Fitzharris presents an intensely moving and hugely enjoyable story about a remarkable medical pioneer and the men he remade -- Wendy Moore ― Guardian A skilled storyteller, Fitzharris takes the reader back to the front, making them trudge and slide through mud filled with missing limbs to find the people who stagger into Gillies's casebooks... Properly contextualised, these faces become not objects of horror or surgery, as they have been all too often used, but pathways into understanding what it is to lose a face, and with it, not only the ability to eat, drink and breathe, but also social acceptance and love -- Fay Bound Alberti ― The Lancet With rich, glossy strokes The Facemaker restores a sense of immediacy to the daily struggles facing Gillies and his colleagues as they improvised under constant pressure -- James Riding ― The Times Out of war's most awful wounds, out of gore and terror and pain, Lindsey Fitzharris has - like Sir Harold Gillies himself - crafted something inspiring and downright miraculous. I cannot imagine the sweat and sleuthing and doggedness that went into gathering the details and building the narratives of these men's struggles. This book is riveting. It is gruesome but it is also uplifting. For as much as there is blood and bone and pus in these pages, there is heart. As Fitzharris shows us, the scalpel is mightier than the grenade, and the pen is mightiest of all. What a triumph this book is -- Mary Roach Like Harold Gillies himself, Lindsey Fitzharris has taken something we might think of as grim and transformed it into something beautiful. Gillies will be a...