Visceral and enigmatic, Ye Lijun’s collection translated by Fiona Sze-Lorrain reveals the intimate relationship between man and Nature. From home-brewed wine, Lake Huai to an intellectual’s return to her hometown, the poems in her first bilingual volume draw on the interaction between the environment and one’s internal states of being, reflecting on the seen and unseen in everyday life.

For those of us who live in Hong Kong, the past six-eight months have been a roller-coaster. The (it is almost now universally accepted) ill-advised extradition bill—the proximate cause of the discontent that has roiled the city—has been withdrawn, but too late to stem the tide of protest, which took on a momentum of its own and which has been a matter of almost daily conversation, argument, newspaper commentary and, for no small number, involvement.

In his 1978 work Orientalism, Edward Said accused Western artists and intellectuals of instrumentalising their perception of the Islamic world to support the narrative of Western dominance and colonialism. The British Museum’s show of Orientalist painting from the Islamic Arts Museum Malaysia, allows us to evaluate the truth of Said’s statement.

Lew Paper’s new book In the Cauldron charts the diplomatic road to Pearl Harbor, mostly through the eyes of the then-US Ambassador to Japan Joseph Grew. Paper portrays Grew as a voice crying in the wilderness, showing the way to peace when everyone around him in official circles in both Japan and the United States drifted towards war.