Graham Trevose is a pioneer of reconstructive surgery, but this is received with deep suspicion by orthodox medicine. The ethical debates which perplexed medical men in post-First-World-War London are the same that face today's doctors over the issues of human cloning, animal organ transplants and embryo-screening.

A New York Times Bestseller Finalist for the 2022 Kirkus Prize | Named a best book of the year by The Guardian "Enthralling. Harrowing. Heartbreaking. And utterly redemptive. Lindsey Fitzharris hit this one out of the park." —Erik Larson, author of The Splendid and the Vile 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.

A thriller that combines authentic medical detail with a blossoming romance and a riveting, utterly compelling plot of terror and revenge.

Peter Lorre described himself as merely a ‘face maker’. His own negative attitude also characterizes traditional perspectives which position Lorre as a tragic figure within film history: the promising European artist reduced to a Hollywood gimmick, unable to escape the murderous image of his role in Fritz Lang’s M. This book shows that the life of Peter Lorre cannot be reduced to a series of simplistic oppositions. It reveals that, despite the limitations of his macabre star image, Lorre’s screen performances were highly ambitious, and the terms of his employment were rarely restrictive. Lorre’s career was a complex negotiation between transnational identity, Hollywood filmmaking practices, the ownership of star images and the mechanics of screen performance.

Winner, 2018 PEN/E.O. Wilson Prize for Literary Science Writing Short-listed for the 2018 Wellcome Book Prize A Top 10 Science Book of Fall 2017, Publishers Weekly A Best History Book of 2017, The Guardian "Warning: She spares no detail!" —Erik Larson, bestselling author of Dead Wake In The Butchering Art, the historian Lindsey Fitzharris reveals the shocking world of nineteenth-century surgery and shows how it was transformed by advances made in germ theory and antiseptics between 1860 and 1875. She conjures up early operating theaters—no place for the squeamish—and surgeons, who, working before anesthesia, were lauded for their speed and brute strength. These pioneers knew that the aftermath of surgery was often more dangerous than 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 riddle and change the course of history. Fitzharris dramatically reconstructs Lister’s career path to his audacious claim that germs were the source of all infection and could be countered by a sterilizing agent applied to wounds. She introduces us to Lister’s contemporaries—some of them brilliant, some outright criminal—and leads us through the grimy schools and squalid hospitals where they learned their art, the dead houses where they studied, and the cemeteries they 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.