Stephan Haggard’s and Marcus Noland’s first joint venture was the 2007 Famine in North Korea: Markets, Aid, and Reform, the best overview of the hunger that led to the death in slow motion death of a million people in the mid- to late-90s. Hard Target does a similar authoritative analysis of the last quarter-century’s attempts to shepherd Pyongyang—with carrot and stick—away from prickly hostility into the warm embrace of the global economic and political order. Their conclusion is neither sanctions nor inducements work, even if the latter have proved marginally more successful than the former.

When one transports an opera set in 13th-century Florence to early 20th-century Shanghai, as Opera Hong Kong did for the comic opera half of this weekend’s double bill of Suor Angelica and Gianni Schicchi, one can expect some textual inconsistencies. Puccini’s only outing in opera buffa tells a story hinted at in Dante’s Inferno: of an out-of-towner who tricks a wealthy family out their inheritance by will-tampering. The story might have come from the pages of the South China Morning Post, so audiences on the whole seem willing to overlook the references to Tuscany. The setting allowed for a number of (quite funny) culturally-specific sight gags.

How does one quantify something as ephemeral as faith? We have become familiar with accounts of China which predicate their analysis on statistics—hard numbers seeming one of the few means of offering an objective view of the scale and complexity of the country. And certainly when it comes to faith in modern China the numbers are striking: 300 million people, or thereabouts, now consider themselves a follower of a faith of some kind—almost a quarter of the country.

Political myth is in no short supply in modern Singapore. In our most familiar histories, material progress and political quiescence are the natural products of visionary—if at times heavy-handed—leadership. Episodes of subversion and suppression are no longer swept entirely under the carpet, but seen as the inevitable growing pains of today’s glitteringly successful neoliberal city-state.

“Please mind the platform gap” is a phrase travelers on the Hong Kong MTR hear every time the train stops. It is a curious phrase, not just the now somewhat quaint “mind” but also that of course the platform has no gap: what is meant is the gap between the train and the platform. First-time travelers must perhaps parse the sentence for meaning; I had to. And it forever stuck in my mind.

Not only in mine, evidently. The phrase (which has its own Wikipedia page) is central to one of the stories in Ho Lin’s recent collection China Girl.