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NEW YORK TIMES EDITORS’ CHOICE • A witty, moving, piercingly insightful new novel about a marvelously complicated woman who can’t be anyone but herself, from the award-winning author of Chemistry LONGLISTED FOR THE ANDREW CARNEGIE MEDAL • “A deeply felt portrait . . . With gimlet-eyed observation laced with darkly biting wit, Weike Wang masterfully probes the existential uncertainty of being other in America.”—Celeste Ng, author of Little Fires Everywhere ONE OF THE BEST BOOKS OF THE YEAR: The New York Times Book Review, The New Yorker, NPR, The Washington Post, Vox Joan is a thirtysomething ICU doctor at a busy New York City hospital. The daughter of Chinese parents who came to the United States to secure the American dream for their children, Joan is intensely devoted to her work, happily solitary, successful. She does look up sometimes and wonder where her true roots lie: at the hospital, where her white coat makes her feel needed, or with her family, who try to shape her life by their own cultural and social expectations.
Once Joan and her brother, Fang, were established in their careers, her parents moved back to China, hoping to spend the rest of their lives in their homeland. But when Joan’s father suddenly dies and her mother returns to America to reconnect with her children, a series of events sends Joan spiraling out of her comfort zone just as her hospital, her city, and the world are forced to reckon with a health crisis more devastating than anyone could have imagined.
Deceptively spare yet quietly powerful, laced with sharp humor, Joan Is Okay touches on matters that feel deeply resonant: being Chinese-American right now; working in medicine at a high-stakes time; finding one’s voice within a dominant culture; being a woman in a male-dominated workplace; and staying independent within a tight-knit family. But above all, it’s a portrait of one remarkable woman so surprising that you can’t get her out of your head.
NEW YORK TIMES EDITORS’ CHOICE • A witty, moving, piercingly insightful new novel about a marvelously complicated woman who can’t be anyone but herself, from the award-winning author of Chemistry LONGLISTED FOR THE ANDREW CARNEGIE MEDAL • “A deeply felt portrait . . . With gimlet-eyed observation laced with darkly biting wit, Weike Wang masterfully probes the existential uncertainty of being other in America.”—Celeste Ng, author of Little Fires Everywhere ONE OF THE BEST BOOKS OF THE YEAR: The New York Times Book Review, The New Yorker, NPR, The Washington Post, Vox Joan is a thirtysomething ICU doctor at a busy New York City hospital. The daughter of Chinese parents who came to the United States to secure the American dream for their children, Joan is intensely devoted to her work, happily solitary, successful. She does look up sometimes and wonder where her true roots lie: at the hospital, where her white coat makes her feel needed, or with her family, who try to shape her life by their own cultural and social expectations.
Once Joan and her brother, Fang, were established in their careers, her parents moved back to China, hoping to spend the rest of their lives in their homeland. But when Joan’s father suddenly dies and her mother returns to America to reconnect with her children, a series of events sends Joan spiraling out of her comfort zone just as her hospital, her city, and the world are forced to reckon with a health crisis more devastating than anyone could have imagined.
Deceptively spare yet quietly powerful, laced with sharp humor, Joan Is Okay touches on matters that feel deeply resonant: being Chinese-American right now; working in medicine at a high-stakes time; finding one’s voice within a dominant culture; being a woman in a male-dominated workplace; and staying independent within a tight-knit family. But above all, it’s a portrait of one remarkable woman so surprising that you can’t get her out of your head.
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En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
Extraits-
From the cover
When I think about people, I think about space, how much space a person takes up and how much use that person provides. I am just under five feet tall and just under a hundred pounds. Briefly I thought I would exceed five feet, and while that would’ve been fine, I also didn’t need the extra height. To stay just under something gives me a sense of comfort, as when it rains and I can open an umbrella over my head.
Today someone said that I looked like a mouse. Five six and 290 pounds, he, in a backless gown with nonslip tube socks, said that my looking like a mouse made him wary. He asked how old I was. What schools had I gone to, and were they prestigious? Then where were my degrees from these prestigious schools?
My degrees are large and framed, I said. I don’t carry them around.
While not a mouse, I do have prosaic features. My eyes, hooded and lashless. I have very thin eyebrows.
I told the man that he could try another hospital or come back at another time. But high chance that I would still be here and he would still think that I looked like a mouse.
I read somewhere that empathy is repeating the last three words of a sentence and nodding your head.
My twenties were spent in school, and a girl in her twenties is said to be in her prime. After that decade, all is lost. They must mean looks, because what could a female brain be worth, and how long could one last?
Being in school often felt like a race. I was told to grab time and if I didn’t—that is, reach out the window and pull time in like a messenger dove—someone else in another car would. The road was full of cars, limousines, and Priuses, but there were a limited number of doves. With this image in mind, I can no longer ride in a vehicle with the windows down. Inevitably I will look for the dove and offer my hand out to be cut off.
—
My father’s stroke was fatal, having followed the natural course of a stroke of that magnitude to its predictable end. Usually people die from complications and I was grateful he hadn’t. Complications would’ve angered him, actually, to have died not from a single blow but from a total system shutdown, which was slower, more painful, and revealed just how vulnerable a person could be. Months prior, he had complained of headaches and eye pressure. I told him to get some tests done and he said that he would, which meant he wouldn’t. In China, my father ran a construction company that, in the last decade, had finally seen success. He was a typical workaholic and for most of my childhood, adolescence, adulthood, not often around.
When I got the news, I was in my office at the hospital, at work. My father had tripped over a bundle of projector cords during a meeting and bounced his head off a chair. As my mother was explaining—either the fall triggered the stroke or the stroke triggered the fall—I asked her to put the phone next to his ear. He was already unconscious, but hearing is the last sense to go. Given the time difference on my side, only morning in Manhattan since I was twelve hours behind, my father was still en route to the meeting that by my mother’s accounts was meant to be ordinary.
I asked my father how his drive was going and if he could, just for today, take a few hours off. He obviously didn’t reply, but I said either way this went, I was proud of him. He had never planned to retire and remained, until the very end, doing what he loved.
Chuàng, I said into the phone, and raised my fist into the air.
After my mother hung up, I sat there for a while, not facing the...
Critiques-
November 29, 2021 Wang’s profound latest (after Chemistry) portrays two generations of a grieving Asian American family. Joan, a 36-year-old self-possessed physician, works long hours at her Manhattan hospital’s ICU and lives alone in a sparsely decorated apartment despite the insistence of her well-to-do brother, Fang, that she move to Connecticut to be closer to him and his family. But when their father, who has lived in Shanghai with their mother ever since Joan went to college, dies after a stroke, Joan begins to feel unmoored. Their mother then returns to the U.S. after 18 years, only to be stranded in Connecticut due to the pandemic travel bans. Because of language barriers, her old age, and lack of a driver’s license, she depends on her children to get around and to communicate. Wang offers candid explorations of family dynamics (“berating is love, and here I was at thirty-six, still being loved,” Joan reflects after Fang shames her for not going with him and their mother on a fancy Colorado skiing trip), and Joan’s empathy for her ailing patients, as well as her disapproving brother and sister in law, are consistently refreshing. It adds up to a tender and enduring portrayal of the difficulties of forging one’s own path after spending a life between cultures. Agent: Joy Harris, Joy Harris Literary.
Joan is a Chinese American doctor who is focused on her work in the ICU of a New York City hospital and has little in the way of a social life. Her brother Fang is a successful hedge fund manager who lives in posh Greenwich, CT, with his wife and three children. When their father dies unexpectedly, Joan requests only 48 hours' leave to attend his funeral in China. This triggers an HR intervention requiring Joan to take a six-week leave from the hospital. An overfriendly neighbor teaches Joan how to fill her down time, but these lessons cause Joan to flee to Greenwich. The close proximity of family precipitates a number of conversations that help Joan clarify what she wants. Wang (PEN/Hemingway--awarded for her debut novel Chemistry, and with a PhD in public health) offers a compelling story and gentle exploration of immigration, success, and lifestyle choices. Narrator Catherine Ho is just the right voice for Joan. She navigates the English and Chinese parts of the story with ease and voices the conflicting opportunities and choices each character faces with compassion and humor. VERDICT Highly recommended.--Joanna M. Burkhardt
Copyright 2022 Library Journal, LLC Used with permission.
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Narrator Catherine Ho gives a superb performance of this #ownvoices audiobook by the award-winning author of CHEMISTRY. Ho perfectly inhabits Joan, a first-generation Chinese-American ICU physician who is grieving the loss of her father while struggling with the direction of her life. Ho's deliberate pace and nuanced intonation straddle the edges between intimacy and detachment. Joan is a wary but sharply observant character, and Ho mines the expanse of Joan's acuity and introspection to depict a complex woman with relatable career, relationship, and family challenges. Ho paints authentic portraits of Joan's mother; older brother, Fang; and his wife, Tami, as well as Joan's co-workers and neighbors. Ho's skillful approach pairs beautifully with Wang's penetrating writing to draw listeners into Joan's insightful journey toward self-realization. M.J. Winner of AudioFile Earphones Award © AudioFile 2022, Portland, Maine
