When George F Kennan was named director of the US State Department’s Policy Planning Staff (PPS) in 1947, he had little knowledge of, or interest in, the Far East. Kennan’s diplomatic experience was limited to Eastern and Central Europe and Russia. His influence in policy-making circles in Washington stemmed from his authorship of the “Long Telegram” from the US Embassy in Moscow in February 1946, and “The Sources of Soviet Conduct” in the journal Foreign Affairs (using the pseudonym “X”) in 1947.

Immigration reform’s prominence in global news doesn’t seem to be letting up anytime soon. It’s an especially heated topic in the United States when immigrants aren’t filling such sought-after professions as nuclear engineers and information technology experts. Regardless of one’s position on immigration, however, it’s surely in everyone’s best interest for all immigrants to succeed in their new homes. And one of the most effective paths to success is having a solid support system—ie, a family—in a new land. Lauren Hilgers’s recently-published book, Patriot Number One: American Dreams in Chinatown, addresses this topic and couldn’t have come out at a more pertinent time.

The predominant narrative on Sino-African relations is relatively simple. After more than three decades of sustained economic expansion, China is an economic juggernaut, with trade and investment overflowing its borders and into the global market. One the one hand, China, with its overcapacity, seeks new markets and new places from which to secure natural resources to keep the economic machine going. On the other, Western disengagement from Africa since the end of the Cold War has been filled in part by China, and China-Africa relations need to be understood as the logical outcome of the marginalization of Africa in the age of globalization in which Africa is hungry for development, investment, and capital.

Bandes dessinées are a francophone tradition; to call them “comic books” is do to them a disservice. The English term “graphic novel” isn’t quite right either, since a bande dessinée might, as is this one, be non-fiction; and while the artwork in contemporary English-language comics is not as dire as it once was, the emphasis is, as the term implies, as often as not on “graphics” rather than work in traditional media.