A retelling of a traditional Korean tale in which a mirror brought from China causes confusion within a family as each member looks in it and sees a different stranger.

"Henry Rosemont raises hard questions, commonly overlooked, and does so with sensitivity, compassion, and broad understanding. The questions focus on modern China, but extend far beyond, to general problems of development, the moral foundations of civilization, and the nature of a just society. It is a challenging and thoughtful enquiry." --Noam Chomsky

Sima Qian's writings have influenced the Chinese for over 2,000 years and still serve as a fiscal source of historical information about China.

The Distorting Mirror analyzes the multiple and complex ways in which urban Chinese subjects saw themselves interacting with the new visual culture that emerged during the turbulent period between the 1880s and the 1930s. The media and visual forms examined include lithography, photography, advertising, film, and theatrical performances. Urbanites actively engaged with and enjoyed this visual culture, which was largely driven by the subjective desire for the empty promises of modernity—promises comprised of such abstract and fleeting concepts as new, exciting, and fashionable. Detailing and analyzing the trajectories of development of various visual representations, Laikwan Pang emphasizes their interactions. In doing so, she demonstrates that visual modernity was not only a combination of independent cultural phenomena, but also a partially coherent sociocultural discourse whose influences were seen in different and collective parts of the culture. The work begins with an overall historical account and theorization of a new lithographic pictorial culture developing at the end of the nineteenth century and an examination of modernity’s obsession with the investigation of the real. Subsequent chapters treat the fascination with the image of the female body in the new visual culture; entertainment venues in which this culture unfolded and was performed; how urbanites came to terms with and interacted with the new reality; and the production and reception of images, the dynamics between these two being a theme explored throughout the book. Modernity, as the author shows, can be seen as spectacle. At the same time, she demonstrates that, although the excessiveness of this spectacle captivated the modern subject, it did not completely overwhelm or immobilize those who engaged with it. After all, she argues, they participated in and performed with this ephemeral visual culture in an attempt to come to terms with their own new, modern self.

These evocative stories bring to life the tragic personal impact of the Cultural Revolution on the families of China's intellectuals. Now adults, survivors recall their childhood during the tumultuous years between 1965 and 1976, when Mao's death finally drew a curtain on a bitterly failed social and political experiment.A series of first-person narratives eloquently describes the life-long influence of this seminal period on China's children. Those who were teenagers in the late 1960s joined the Red Guards and the revolutionary rebel groups, following Mao's directives to make revolution, often to their own undoing. Those who were too young to participate directly were even more vulnerable. Although they had little understanding of the political firestorm that engulfed their parents, they were old enough to understand and feel the terror it brought. Vividly capturing the emotional intensity of the time, these stories explore what it was like to be caught up in revolutionary fervor, to be sent to the countryside, to be separated,either ideologically or physically,from one's parents, often forever.By undermining families and family structure, the Cultural Revolution created a generation of Chinese who view politics, the Communist Party, and life itself with deep cynicism. Presenting a spectrum of individual stories of people who saw the Cultural Revolution through the eyes of a child, The Red Mirror offers rare insights for understanding the crippling legacy of the Cultural Revolution.

A retelling of a traditional Korean tale in which a mirror brought from China causes confusion within a family as each member looks in it and sees a different stranger.

By an author described by critics as 'the most accomplished Malaysian writer, full stop'. Lake Like a Mirror is a scintillating exploration of the lives of women buffeted by powers beyond their control. Squeezing themselves between the gaps of rabid urbanisation, patriarchal structures and a theocratic government, these women find their lives twisted in disturbing ways. In precise and disquieting prose, Ho Sok Fong draws her readers into a richly atmospheric world of naked sleepwalkers in a rehabilitation centre for wayward Muslims, mysterious wooden boxes, gossip in unlicensed hairdressers, hotels with amnesiac guests, and poetry classes with accidentally charged politics - a world that is peopled with the ghosts of unsaid words, unmanaged desires and uncertain statuses, surreal and utterly true.