Amir Khan

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This book is an intervention in Hamlet scholarship. In Thus Spake Zarathustra (1885), Nietzsche famously posited the death of God, taken to mean the dissolution of all horizons within which human beings construct a plausible ontology that gives words significance. The idea of God, as a transcendental signified (to borrow from Derrida), underwrites meaning and values. Socrates placed knowing as the highest philosophical good over two millennia ago; however, once we find that God (i.e. any transcendental signified) is unknowable, the world vanishes. In a world bereft of concepts and meaning, Nietzsche’s philosophical project becomes one of “redeeming” pure willing as itself constitutive of world. Hamlet and the criticism surrounding it is caught within competing horizons we know are circuitous and unending. We tiresomely make theoretical rounds between competing sets of interpretations that boil down to either establishing meaning within the play (the text transcending its history and revealing universal truths) or situating the text within its proper historical timeframe in order to get it to speak. In short, we are trapped between contextualizing and decontextualizing approaches. Yet we know both approaches, as competing horizons we commit to at the outset, are dead. But to abandon both at the outset means that the text, Hamlet, is itself dead. So how to get it to speak?

Watch this space for Dr Amir Khan's next novel!

This book is an intervention in Hamlet scholarship. In Thus Spake Zarathustra (1885), Nietzsche famously posited the death of God, taken to mean the dissolution of all horizons within which human beings construct a plausible ontology that gives words significance. The idea of God, as a transcendental signified (to borrow from Derrida), underwrites meaning and values. Socrates placed knowing as the highest philosophical good over two millennia ago; however, once we find that God (i.e. any transcendental signified) is unknowable, the world vanishes. In a world bereft of concepts and meaning, Nietzsche’s philosophical project becomes one of “redeeming” pure willing as itself constitutive of world. Hamlet and the criticism surrounding it is caught within competing horizons we know are circuitous and unending. We tiresomely make theoretical rounds between competing sets of interpretations that boil down to either establishing meaning within the play (the text transcending its history and revealing universal truths) or situating the text within its proper historical timeframe in order to get it to speak. In short, we are trapped between contextualizing and decontextualizing approaches. Yet we know both approaches, as competing horizons we commit to at the outset, are dead. But to abandon both at the outset means that the text, Hamlet, is itself dead. So how to get it to speak?

'Very open and honest' talkSPORTSome people are born to be sports stars. I wasn't one of them. I was born to be . . . actually what was I born to be? Probably, like most Asian kids growing up in the late Nineties, a doctor, or a teacher. At a push I might have been a cricketer. A boxer? Come off it! No Asian lad did that sort of thing. Hanging up my gloves has given me the opportunity to reflect not just on my career but on who I am and the kind of person I want to be. Whoever that is, I just hope they get a few less slaps to the face! Boxing has only ever been part of the storyline. Whether it be death threats from Al-Qaeda, gunpoint robbery, family fallouts, marriage to a New York socialite, three kids, a reality show, a money pit wedding hall, or walking through a flood and earthquake devastated Pakistan, I'm struggling to think of a quiet day. That means a lot of lessons hard-learned - and you'll notice that I try to pass a few on here. I've become a teacher after all!

This comprehensive bilingual Pashto dictionaryincludes over 25,000 Word-for-Word dictionary entries, and is approved forESL/ELL students to use for standardized testing. Pashto a is an Eastern Iranian language that isnative to southern and eastern Afghanistan, northwestern Pakistan, and parts ofeastern Iran. It is spoken by over 40 million people worldwide. Pashto iswritten in the Pashto alphabet or script, which is a modified form of thePerso-Arabic script. This dictionary's two-way format makes it usefulfor both English and Pashto speakers. Each entry includes the Pashto script aswell Romanization (common sense phonetic pronunciation) for English speakers. Pashto-speakingELL (English-Language Learner) students can look up the meaning of Englishwords they don't recognize, and also translate their thoughts and writing in Pashtoto English using this dictionary.

He’s the perfect catch (according to his mother). From Dr Amir Khan, How (Not) To Have an Arranged Marriage is a timely, heartfelt novel which looks at all aspects of modern arranged marriages.'This is a complete delight from a born storyteller' – Lorraine KellyYousef is the golden child to his strict Pakistani parents, overshadowing his younger sister, Rehana. As he finishes his medical degree in London, his life appears to be mapped out for him: become a doctor, marry a suitable girl of his parents’ choosing and, above all, make his family proud. Then Yousef meets Jess. A fellow medical student, Jess presents a complication to the plan. Suddenly, Yousef finds himself torn between two worlds – keeping each a secret from the other. Then, as graduation day looms, Yousef’s mother informs him that she’s started looking for his wife . . .'Filled with family, food and warmth' – Heat, Book of the WeekModern love and traditional cultures collide in How (Not) To Have an Arranged Marriage, a big-hearted romance from full-time GP and author of The Doctor Will See You Now, Dr Amir Khan.

***THE MUST-READ AUTOBIOGRAPHY OF ONE OF THE GREATEST BRITISH BOXERS EVER – LAUGH-OUT-LOUD FUNNY, INSPIRATIONAL AND BRUTALLY HONEST***'It's a fascinating read' - Chris Moyles'I cannot recommend it enough - I absolutely tore through this. Fight For Your Life is not a normal Sports autobiography – it is much more than just that – it is very personal and very open and honest’ - TalkSPORT'An absolutely amazing book' - Alison Hammond, ITV This Morning'Some people are born to be sports stars. I wasn't one of them. I was born to be . . . actually what was I born to be? Probably, like most Asian kids growing up in the late Nineties, a doctor, or a teacher. At a push I might have been a cricketer. A boxer? Come off it! No Asian lad did that sort of thing. Hanging up my gloves has given me the opportunity to reflect not just on my career but on who I am and the kind of person I want to be. Whoever that is, I just hope they get a few less slaps to the face! Boxing has only ever been part of the storyline. Whether it be winning an Olympic medal at 17, death threats from Al-Qaeda, gunpoint robbery, family fallouts, marriage to a New York socialite, three kids, a reality show, a money pit wedding hall, or walking through a flood and earthquake devastated Pakistan, I'm struggling to think of a quiet day. That means a lot of lessons hard-learned - and here, in my autobiography, you'll notice that I try to pass a few on here. I've become a teacher after all!'

From Dr Amir Khan, How (Not) To Have an Arranged Marriage is a timely, heartfelt novel which looks at all aspects of modern arranged marriages.'Full of the compassion, humanity and mischievous sense of fun you would expect from Dr Amir. This is a complete delight from a born storyteller' - Lorraine KellyHe’s the perfect catch (according to his mother). Yousef is the golden child to his strict Pakistani parents, overshadowing his younger sister, Rehana. As he finishes his medical degree in London, Yousef’s life appears to be mapped out for him: become a doctor, marry a suitable girl of his parents’ choosing and, above all, make his family proud. Then Yousef meets Jess. A fellow medical student, Jess presents a complication to the plan. Suddenly, Yousef finds himself torn between two worlds – his whirlwind romance and his traditional family – keeping each a secret from the other. Then, as graduation day looms, Yousef’s mother informs him that she’s started looking for his wife . . .'A fascinating insight into modern day arranged marriages . . . filled with family, food and warmth' – Heat, Book of the Week'Heartwarming, hilarious and incredibly insightful. Writing with poignant honesty about the messy nature of life.' - J F Murray, author of Fling and Hitched'Fun' - The Times

'Honest, compassionate, brave and big hearted' - LORRAINE KELLY'Celebrates human beings in all their glorious, messy imperfection' - CAT DEELEY Sunday Times Bestseller updated with a new chapter on Amir's experiences during the coronavirus pandemic and being on the frontlines of the historic vaccination effort.60 hours a week240 patients 10 minutes to make a diagnosis Welcome to the surgery. Charting his 15 years working as a GP, from rookie to becoming a partner in one of the UK's busiest surgeries, Dr Amir Khan's stories are as much about community and care as they are about blood tests and bodily fluids. Along the way, he introduces us to the patients that have taught him about love, loss and family - from the regulars to the rarities - giving him the most unbelievable highs and crushing lows, and often in just 10 minutes. There is the unsuspecting pregnant woman about to give birth at the surgery; the man offering to drop his trousers and take a urine sample there and then; the family who needs support through bereavement, the vulnerable child who will need continuing care for a long-term health condition; and, of course, the onset of COVID-19 that tested the surgery at every twist and turn. But, it's all in a day's work for Amir. The Doctor Will See You Now is a powerful story of hope, love and compassion, but it's also a rare insider account of what really goes on behind those surgery doors.

Furcation is an area of complex anatomic morphology, that once involved is difficult to treat and maintain by routine periodontal therapy. The invasion of the bifurcation and trifurcation of multirooted teeth by the disease is termed as furcation involvement. Various contributing factors for furcation involvement are periodontal disease, pulpal disease, iatrogenic factors (root fractures and root perforations) during endodontic therapy, anatomical factors such as cervical enamel projections, enamel pearls, bifurcation ridges, and trauma from occlusion. It is the anatomic location of the pathology that defines the lesion and hence, it is essential to have a good knowledge of the anatomy of furcation, to ensure the correct diagnosis and optimal treatment planning and to understand how these anatomic factors may influence the etiology and pathogenesis of this lesion. Thus, the purpose of this book is to review the intricacies related to the furcation and its involvement and also throw some light on the various proposed treatment strategies for the furcation involvement.

This book presents close-readings of seven post-millennial comedic films: Up in the Air, Tropic Thunder, JCVD, Winnebago Man, The Trotsky, Be Kind Rewind, and Hamlet 2. It is a sequel to Stanley Cavell’s 1981 landmark study of the comedic genre, Pursuits of Happiness, where he examines seven comedies of Hollywood’s “Golden Age.” Khan puts forward the idea that comedies, once centred on the conventional “happy ending,” are no longer interested in detailing the steps to any ending we might call happy. Instead, the agenda of most culturally serious comedies today is to “spoof,” to make all that is fair foul. The seven films presented here risk a type of cultural nihilism—spoofing for the sake of spoofing and nothing else, indicative not of film’s promise but its failure. By equating the failure of film with the failed national politics of Canada (or the failed politics of nationalism andcommunity more generally), this study shows that comedy has less to do with happiness and more to do with the grotesque. The films analysed represent hyper-realized forms of comic irony and move towards what theatre knows as tragedy, or a tragic vision.

This book presents close-readings of seven post-millennial comedic films: Up in the Air, Tropic Thunder, JCVD, Winnebago Man, The Trotsky, Be Kind Rewind, and Hamlet 2. It is a sequel to Stanley Cavell’s 1981 landmark study of the comedic genre, Pursuits of Happiness, where he examines seven comedies of Hollywood’s “Golden Age.” Khan puts forward the idea that comedies, once centred on the conventional “happy ending,” are no longer interested in detailing the steps to any ending we might call happy. Instead, the agenda of most culturally serious comedies today is to “spoof,” to make all that is fair foul. The seven films presented here risk a type of cultural nihilism—spoofing for the sake of spoofing and nothing else, indicative not of film’s promise but its failure. By equating the failure of film with the failed national politics of Canada (or the failed politics of nationalism andcommunity more generally), this study shows that comedy has less to do with happiness and more to do with the grotesque. The films analysed represent hyper-realized forms of comic irony and move towards what theatre knows as tragedy, or a tragic vision.

We know William Shakespeare matters but we cannot pinpoint, precisely, why he matters. Lacking reasons why, we do our best to involve him in others, or involve others in him. He has been branded many times over-as Catholic, Protestant, Materialist, Marxist, Psychoanalytic, Feminist, Postcolonial, Popular, Cultural, and, even, Popular-Cultural. In many ways, Shakespeare is overwrought. Why one more 'approach' to Shakespeare? One reason is because whatever these approaches say about tragedy in particular, none of them help us to feel tragedy. Or, rather, they subordinate tragedy to something else-to considerations of, say, class, race, or gender. What these approaches manage to do is explain tragedy away. What this book does is to help us feel tragedy first and foremost-hence to perceive it better. The aim of Amir Khan's counterfactual criticism of Shakespeare's tragedies, Hamlet, King Lear, Macbeth, A Winter's Tale and Othello, then, is precisely to reanimate the tragic effect, long since lost in some deluge of explanation.

We know William Shakespeare matters but we cannot pinpoint, precisely, why he matters. Lacking reasons why, we do our best to involve him in others, or involve others in him. He has been branded many times over-as Catholic, Protestant, Materialist, Marxist, Psychoanalytic, Feminist, Postcolonial, Popular, Cultural, and, even, Popular-Cultural. In many ways, Shakespeare is overwrought. Why one more 'approach' to Shakespeare? One reason is because whatever these approaches say about tragedy in particular, none of them help us to feel tragedy. Or, rather, they subordinate tragedy to something else-to considerations of, say, class, race, or gender. What these approaches manage to do is explain tragedy away. What this book does is to help us feel tragedy first and foremost-hence to perceive it better. The aim of Amir Khan's counterfactual criticism of Shakespeare's tragedies, Hamlet, King Lear, Macbeth, A Winter's Tale and Othello, then, is precisely to reanimate the tragic effect, long since lost in some deluge of explanation.