Read O Cirurgião by Tess Gerritsen Free Online
Book Title: O Cirurgião|
The author of the book: Tess Gerritsen
ISBN 13: 9789722516167
Format files: PDF
The size of the: 554 KB
City - Country: No data
Loaded: 1395 times
Reader ratings: 3.9
Edition: Bertrand Editora
Date of issue: 2007
Read full description of the books:
Thriller. Trigger Warning for discussion of rape.
Let's review: 1. "He identifies and removes only the organ he wants. Nothing more. And what he wants is the womb." [...] "He hates women," she said. "He cuts out the one thing that makes them women." (p.60)
2. Ignoring the water bottle and the disgusting object it contained... (p.67)
3. "'She thought: "It's my fault. I shouldn't have been so careless." But that's how it is with women.' She looked directly at Moore. 'We blame ourselves for everything, even when it's the man who does the fucking.'" (p.126)
4. Above all, he did not want her to think him condescending. More than any woman he'd ever met, she commanded his respect. (p.136)
5. Hair was so very personal. A woman wears it, sleeps with it. It carries fragrance and color and texture. A woman's very essence. No wonder Catherine had been horrified to learn that a man she did not know possessed such an intimate part of her. (p.195)
6. "He only assaults women who act like victims." (p.247)
1. So a womb is the thing that makes a woman! Glad we solved that.
2. This is Rizzoli thinking and the "disgusting object" is actually a tampon. I'm assuming it's unused because how would a bunch of men get a used tampon, let alone shove it into a bottle of mineral water, but how could a clean tampon be considered disgusting unless you hate women and/or female bodies?
3. Fucking! A word with excellent shock value! HOWEVER, fucking is sex. Rape is not sex. Sorry, but you're only perpetuating the misconception that rape is just a kind of unhappy sex. Also nice is how this character (angry, possibly man-hating, woman) is saying that all women blame themselves for being raped.
4. Oh no, it's not condescending at all to be given respect for being a particular kind of woman, rather than simply a human being. You have to respect the ladies in a different way than you respect men. Because otherwise that might lead to gender equality.
5. Yes, Thomas, that's why Catherine was horrified to find out that HER RAPIST HAD CUT A LOCK OF HER HAIR AS A KEEPSAKE. Because hair smells good, and is infused with womanly essences. NOT BECAUSE IT'S COMPLETELY INVASIVE AND CREEPY AS FUCK.
And that final quote. Do I even have to explain that no woman acts like a victim?
The problem with this book is that it revolves around a murderer who hunts, terrorizes, dismembers, and kills women. So let's assume he hates women, or at least harbors a lot of rage toward them. Then there are the male psychologists who are attempting to understand him, and thus, in a professional setting, use words like "bitch," for instance. Are they trying to mimic what they see as the thought patterns of the suspect or do they routinely refer to women as bitches? It's not clear. There's little to no framing language or verbal hedging that allows us to make that distinction. The male detectives are trying to track and identify the subject, but they don't let that stop them from enjoying a good rape joke at the crime scene; meanwhile Saint Thomas (he of the dead wife) feels vaguely unhappy about it but doesn't do anything to stop them. Even Rizzoli, who is female herself, seems to dislike, suspect, and resent women almost as much as her male colleagues do.
I can't separate the narrative from the authorial intent. All I know is that it sucks, okay? It's full of rape, casual misogyny, and an almost subliminal devotion to the idea that women are VICTIMS VICTIMS VICTIMS. Also, according to this, the sole thing that makes a person female is the uterus or -- god help me -- womb as they insist on calling it half the time. Again, that's probably just what the detectives see as the suspect's mindset, but the conflation of uterus and womb is problematic on any level. Not everybody's uterus is a womb.
After all that it seems petty to complain about the stilted introspection, the purple prose, the lengthy italicized sections where the murderer talks about his craft in the most pretentious language imaginable, or the fact that I didn't like any of the characters, but I'm still going to complain. Rizzoli might grow on me, though, so that leaves me with the difficult decision of whether to give Gerritsen another try.
This is a mediocre book about a terrible subject made worse by clumsy writing about rape, VICTIMS (not, let's be clear, survivors), and being female in a male world. Um, not recommended for anyone. I've read a lot of trashy thrillers in my time and I will shrug off a lot of iffy things in the interest of mindless entertainment, but this set my mind into angry overdrive. Not relaxing at all.
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Read information about the authorInternationally bestselling author Tess Gerritsen took an unusual route to a writing career. A graduate of Stanford University, Tess went on to medical school at the University of California, San Francisco, where she was awarded her M.D.
While on maternity leave from her work as a physician, she began to write fiction. In 1987, her first novel was published. Call After Midnight, a romantic thriller, was followed by eight more romantic suspense novels. She also wrote a screenplay, "Adrift", which aired as a 1993 CBS Movie of the Week starring Kate Jackson.
Tess's first medical thriller, Harvest, was released in hardcover in 1996, and it marked her debut on the New York Times bestseller list. Her suspense novels since then have been: Life Support (1997), Bloodstream (1998), Gravity (1999), The Surgeon (2001), The Apprentice (2002), The Sinner (2003), Body Double (2004), Vanish (2005), The Mephisto Club (2006), and The Bone Garden (2007). Her books have been translated into 31 languages, and more than 15 million copies have been sold around the world.
As well as being a New York Times bestselling author, she has also been a #1 bestseller in both Germany and the UK. She has won both the Nero Wolfe Award (for Vanish) and the Rita Award (for The Surgeon.) Critics around the world have praised her novels as "Pulse-pounding fun" (Philadelphia Inquirer), "Scary and brilliant" (Toronto Globe and Mail), and "Polished, riveting prose" (Chicago Tribune). Publisher Weekly has dubbed her the "medical suspense queen".
Now retired from medicine, she writes full time. She lives in Maine.
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