The area where the country of Yemen is now found was long known to geographers by the Latin Arabic Felix; felix meant “fertile” but also “happy” or “lucky”. Yemen is much in the news today and little of it is either happy or lucky. When Peter Schlesinger visited the Yemen Arab Republic (the northern half of a country still split in two) in 1976—hitching a ride, as it were, with his friend Eric Boman, who had been invited to do a story for a French fashion magazine—the country had only just emerged from civil war and entering an all-too-brief period of peace and hope.

Most book milestones are measured in time—six months to deadline!—or word count. For Nicholas Kitto, author of Trading Places: A Photographic Journey through China’s Former Treaty Ports, the pertinent metric was step count: in the process of searching out the subjects for his photographs, Kitto walked 2,784,010 steps in the course of fifty-one different journeys from his home in Hong Kong—which must have amounted well over a thousand miles on foot.

Two men stand in front of a vegetable and fruit stall, completely absorbed by their own private conversation. Behind them, two other, younger men intimately shake hands on leaving the “Cafés Salonu” while a boy next to them is trying to wipe the water and trash from the sidewalk. The whole setting appears cinematic, the characters shimmering in the moody atmosphere engendered by the beam of the street light.

In  2007, Londoners found a new magazine on the stands called Monocle. Thirteen years later, as we are informed on the back cover, it grew from a fairly modest debut as “a briefing on the world, from diplomacy to design, business to travel, culture to hospitality” into “a fully-fledged media company with a 24-hour radio station, a website, films, shops and cafés—and books.” This book is just what one would expect from such a source—its emphasis is on modern and contemporary Japan rather than on historical aspects (although these are not entirely neglected), and is perhaps an ideal book for younger people who want to know what Japan in the 21st century has to offer.

In 1865, the eminent American journalist and abolitionist Frederick Douglass delivered a lecture called “Pictures and Progress”, in which he discussed the role of photography in exposing the evils of racism and slavery. Referring to Louis Daguerre, he pointed out that “men of all conditions and classes can now see themselves as others see them, and as they will be seen by those who come after them,” and that “man is the only picture-making animal in the world. He alone of all the inhabitants of earth has the capacity and passion for pictures.”

Liam Wong’s debut collection of photography, the eponymously entitled TO:KY:OO, brings together several trends that someone more au courant with the cultural zeitgeist than I perhaps would have already been familiar with. I had, for example, to look up what “cyberpunk” actually meant and can’t myself say whether the photographs in this collection are “cyberpunk-inspired” or are instead influenced by other, more mainstream, traditions. I am perhaps on firmer ground saying that they are vibrant, pulsating and hypnotic.