Over the past few decades, maternal childbirth injuries have become a potent symbol of Western biomedical intervention in Africa, affecting over one million women across the global south. Western-funded hospitals have sprung up, offering surgical sutures that ostensibly allow women who suffer from obstetric fistula to return to their communities in full health. Journalists, NGO staff, celebrities, and some physicians have crafted a stock narrative around this injury, depicting afflicted women as victims of a backward culture who have their fortunes dramatically reversed by Western aid. With Beyond Surgery, medical anthropologist Anita Hannig unsettles this picture for the first time and reveals the complicated truth behind the idea of biomedical intervention as quick-fix salvation.
 
Through her in-depth ethnography of two repair and rehabilitation centers operating in Ethiopia, Hannig takes the reader deep into a world inside hospital walls, where women recount stories of loss and belonging, shame and delight. As she chronicles the lived experiences of fistula patients in clinical treatment, Hannig explores the danger of labeling “culture” the culprit, showing how this common argument ignores the larger problem of insufficient medical access in rural Africa. Beyond Surgery portrays the complex social outcomes of surgery in an effort to deepen our understanding of medical missions in Africa, expose cultural biases, and clear the path toward more effective ways of delivering care to those who need it most.

In Public Privates, a book about looking and being looked at, about speculums, spectacles, and spectators, about display, illumination, and reflection, Terri Kapsalis makes visible the practices and representations of gynecology. The quintessential examination of women, gynecology is not simply the study of women’s bodies, but also serves to define and constitute them. Any critical analysis of gynecology is therefore, as Kapsalis affirms, an investigation of what it means to be female. In this respect she considers the public exposure of female "privates" in the performance of the pelvic exam.
From J. Marion Sims’s surgical experiments on unanesthetized slave women in the mid-nineteenth century, to the use of cadavers and prostitutes to teach medical students gynecological techniques, Kapsalis focuses on the ways in which women and their bodies have been treated by the medical establishment. Removing gynecology from its private cover within clinic walls and medical textbook pages, she decodes the gynecological exam, seizing on its performative dimension. She considers traditional medical practices and the dynamics of "proper" patient performance; non-traditional practices such as cervical self-exam; and incarnations of the pelvic examination outside the bounds of medicine, including its appearance in David Cronenberg’s film Dead Ringers and Annie Sprinkle’s performance piece "Public Cervix Announcement."
Confounding the boundaries that separate medicine, art, and pornography, revealing the potent cultural attitudes and anxieties about women, female bodies, and female sexuality that permeate the practice of gynecology, Public Privates concludes by locating a venue from which challenging, alternative performances may be staged.