The sequel “Hong Kong by Moonlight” reveals how a segment of this group of misfits handles themselves as outcasts and how they draw others into their cause. Those in similar situations due to personal circumstances befriend them, as they continue to unveil the painful facts of their sorted past and perhaps their future. Let us just pray that this assemblage remembers the words of an oath, written by the priest to prick their hearts with a spiritual intervention lesson, while attempting to improve their relationship with the Divine One and each other. Amen.

Split into four sections, Seeing Fans analyzes the representations of fans in the mass media through a diverse range of perspectives. This collection opens with a preface by noted actor and fan Orlando Jones (Sleepy Hollow), whose recent work on fandom (appearing with Henry Jenkins at Comic Con and speaking at the Fan Studies Network symposium) bridges the worlds of academia and the media industry. Section one focuses on the representations of fans in documentaries and news reports and includes an interview with Roger Nygard, director of Trekkies and Trekkies 2. The second section then examines fictional representations of fans through analyses of television and film, featuring interviews with Emily Perkins of Supernatural, Robert Burnett, director of the film Free Enterprise, and Luminosity, a fan who has been interviewed in the New York Magazine for her exemplary work in fandom. Section three explores cultural perspectives on fan representations, and includes an interview with Laurent Malaquais, director of Bronies: The Extremely Unexpected Adult Fans of My Little Pony. Lastly, the final section looks at global perspectives on the ways fans have been represented and finishes with an interview with Jeanie Finlay, director of the music documentary Sound it Out. The collection then closes with an afterword by fan studies scholar Professor Matt Hills.

On May 3, 1975, Hong Kong received its first cohort of 3,743 Vietnamese boatpeople. The incident opened a 25-year history that belongs to a larger context of forced migration in modern social history. By researching all possible textual material available, the book provides a comprehensive review of the collective history of the Vietnamese boatpeople. Moreover, it intertwines historical archives with personal drawings created by the Vietnamese living in Hong Kong detention camps, recapping a collective memory with its human face. By interpreting and analyzing these drawings, the author demonstrates the expressive and communicative power of imagery as a form of language, and illustrates how art can tell a personal tragic story when language fails. She unfolds the stories and artworks throughout the whole book with the hope that new insights and meanings can be attained through the conscious review and re-interpretation of the past.

As a city that seems to float between Europe and Asia, removed by a lagoon from the tempos of terra firma, Venice has long seduced the Western imagination. Since the 1797 fall of the Venetian Republic, fantasies about the sinking city have engendered an elaborate series of romantic clichés, provoking conflicting responses: some modern artists and intellectuals embrace the resistance to modernity manifest in Venice's labyrinthine premodern form and temporality, whereas others aspire to modernize by "killing the moonlight" of Venice, in the Futurists' notorious phrase. Spanning the history of literature, art, and architecture—from John Ruskin, Henry James, and Ezra Pound to Manfredo Tafuri, Italo Calvino, Jeanette Winterson, and Robert Coover—Killing the Moonlight tracks the pressures that modernity has placed on the legacy of romantic Venice, and the distinctive strains of aesthetic invention that resulted from the clash. In Venetian incarnations of modernism, the anachronistic urban fabric and vestigial sentiment that both the nation-state of Italy and the historical avant-garde would cast off become incompletely assimilated parts of the new. Killing the Moonlight brings Venice into the geography of modernity as a living city rather than a metaphor for death, and presents the archipelago as a crucible for those seeking to define and transgress the conceptual limits of modernism. In strategic detours from the capitals of modernity, the book redrafts the confines of modernist culture in both geographical and historical terms.

In Networks beyond Empires, Kuo examines business and nationalist activities of the Chinese bourgeoisie in Hong Kong and Singapore between 1914 and 1941. The book argues that speech-group ties were key to understanding the intertwining relationship between business and nationalism. Organization of transnational businesses and nationalist campaigns overlapped with the boundary of Chinese speech-group networks. Embedded in different political-economic contexts, these networks fostered different responses to the decline of the British power, the expansion of the Japanese empire, as well as the contested state building processes in China. Through negotiating with the imperialist powers and Chinese state-builders, Chinese bourgeoisie overseas contributed to the making of an autonomous space of diasporic nationalism in the Hong Kong-Singapore corridor.

Hong Kong has long held a fascination for travelers, and has been an inspiration to those who lived there. This new collection of writing offers remarkable insight into Hong Kong's past, with pieces that date as far back as the Song Dynasty and continue to the present day. The sixty extracts are taken from novels, poems, short stories, biographies, letters, postcards, diaries, and even speeches--many never before published--and are illustrated with contemporary photographs and sketches. Writers include Queen Victoria, Jules Verne, Rudyard Kipling, and W.H. Auden, as well as soldiers and sailors, doctors and clergymen, painters and photographers, tourists and travelers, the rich and the poor, Europeans and Chinese. Lord Palmerston comments in 1844 on the addition to the British empire, the first settlers describe and difficulties of life in the new colony, late Victorian ladies struggle with the language, heat, and social obligations, and the war years bring letters from the POW camps. Through these passages readers are given the opportunity to experience Hong Kong and its people, from past to present, in a unique and personal way.

The original novelization of King Kong, featuring a new introduction by Jack Thorne, the Tony-winning playwright of King Kong: Alive on Broadway, and cover art by the celebrated Olly Moss The giant primeval gorilla King Kong is one of the most recognized images in our culture. So great is the mighty Kong’s hold on the popular imagination that his story has inspired an entire cinematic universe. Now the legendary monster comes to the stage in the brand-new musical King Kong: Alive on Broadway. Beneath King Kong’s cultural significance, however, is a tense and surprisingly tender story. One cannot help but be frightened by Kong’s uncontrollable fury, be saddened over the giant’s capture, mistreatment, and exploitation by venal showmen, or sympathize with the beast’s ill-fated affection for the down-on-her-luck starlet Ann Darrow. With a foreword by Mark Cotta Vaz, the preeminent biographer of Merian C. Cooper, producer of the original 1933 classic film.

In Hong Kong, a company has developed a fuel additive that increases mileage markedly. All the world powers want it. But when the formula is stolen from the company safe, only Hugh North can find it—if he lives long enough!

“An atmospheric, multilayered, sex-positive romance.” —Kirkus Reviews (starred review) After an awkward first encounter, Birdie and Daniel are forced to work together in a Seattle hotel where a famous author leads a mysterious and secluded life in this romantic contemporary novel from the author of Alex, Approximately. Mystery-book aficionado Birdie Lindberg has an overactive imagination. Raised in isolation and homeschooled by strict grandparents, she’s cultivated a whimsical fantasy life in which she plays the heroic detective and every stranger is a suspect. But her solitary world expands when she takes a job the summer before college, working the graveyard shift at a historic Seattle hotel. In her new job, Birdie hopes to blossom from introverted dreamer to brave pioneer, and gregarious Daniel Aoki volunteers to be her guide. The hotel’s charismatic young van driver shares the same nocturnal shift and patronizes the waterfront Moonlight Diner where Birdie waits for the early morning ferry after work. Daniel also shares her appetite for intrigue, and he’s stumbled upon a real-life mystery: a famous reclusive writer—never before seen in public—might be secretly meeting someone at the hotel. To uncover the writer’s puzzling identity, Birdie must come out of her shell…discovering that the most confounding mystery of all may be her growing feelings for the elusive riddle that is Daniel.

All around the world people are affected by and in awe of a full moon. In this poetic exploration of the lunar wonder, places near and far provide the backdrop for discovering celebrations, beliefs, customs and facts about the moon. From Broadway to Hong Kong to the International Space Station, the various perspectives, sparkling verses and depth of information create a fascinating rendering of a familiar, yet remarkable sight.