![]() ![]() ![]() He challenged the practices of the internship in The New York Times, attracting the suspicions of the medical bureaucracy. He struggled to find a place among squadrons of cocky residents and doctors. He switched from physics to medicine in order to follow a more humane calling―only to find that his new profession often had little regard for patients' concerns. Residency―and especially its first year, the internship―is legendary for its brutality, and Jauhar's experience was even more harrowing than most. Sandeep Jauhar's story of his days and nights in residency at a busy hospital in New York City, a trial that led him to question his every assumption about medical care today. "In Jauhar's wise memoir of his two-year ordeal of doubt and sleep deprivation at a New York hospital, he takes readers to the heart of every young physician's hardest to become a doctor yet remain a human being." ― Time ![]()
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![]() Or is it?Īfter stumbling into the spotlight, Willis finds himself launched into a wider world than he's ever known, discovering not only the secret history of Chinatown, but the buried legacy of his own family. He's a bit player here, too, but he dreams of being Kung Fu Guy-the most respected role that anyone who looks like him can attain. Yet every day, he leaves his tiny room in a Chinatown SRO and enters the Golden Palace restaurant, where Black and White, a procedural cop show, is in perpetual production. Sometimes he gets to be Background Oriental Making a Weird Face or even Disgraced Son, but always he is relegated to a prop. Willis Wu doesn't perceive himself as the protagonist in his own life: he's merely Generic Asian Man. ![]() ![]() A delicious, ambitious Hollywood satire." - The Washington Postįrom the infinitely inventive author of How to Live Safely in a Science Fictional Universe, a deeply personal novel about race, pop culture, immigration, assimilation, and escaping the roles we are forced to play. ![]() ![]() ![]() This article explores one avenue by which Ariosto disrupts such ostensible polarities through the dynamic intertextual practice of writing and rewriting the “Orient.” A close reading of Canto XXVIII’s resounding echoes of the Thousand and One Nights’ and the lesser-known Hundred and One Nights’ frame tales, illuminates the Furioso’s double focus upon movement toward and away from Muslim-Arab cultural affiliation, a push-pull that opens a space of difference where literary traditions can converge neither in reconciliation nor domination of one another. This canto’s staging of Orlando’s madness signals a significant extra-textual literary transition, unsettling the binary of medieval and classical literary traditions that Ariosto draws on, and suggesting a novel genre of literary expression. ![]() Canto XXIII marks a tragicomic turning point in the Orlando Furioso, as the tension sustaining the titular character’s epic stoicism and romantic chivalry falls away to reveal a maniacal anti-hero. ![]() |