Another Hong Kong edited by Simon Berry, Katrina Hamlin, Kate Hawkins and Peter Humphreys Hong Kong Writers Circle The Hong Kong Writers Circle's annual short-story books have been well-edited, entertaining and have introduced several local authors. However, the 23-year-old group's latest anthology, Another Hong Kong , is less successful. Themed on a Hong Kong "of the past, of the future or through the eyes of others", its 22 stories and eight poems suffer from inconsistent editing. The 24 contributors write imaginatively, but the four editors have run the weakest stories first. Reena Bhojwani, for example, rambles impenetrably about the Observatory in opening story The Seniors' Chi , while the wordy second contribution, S.C.C. Overton's The Narrative of Self Blame , seems too clever by half. Pik Ki Luk's earnest animal-protection poem, Cuora Cyclonarta , embodies the anthology's slow start, while Vaughan Rapatahana's Kwai Shing seems a one-handed experiment in trite verse and pretentious typesetting. S. McKenna arguably rescues the anthology from the rubbish bin with her excellent Taxi for Madam Cheong . This page-turner ably portrays a cheongsamed, red-lipsticked chief executive on her last day in office. Lawyer Simon Berry's Interview With the Old Guy also reviews Hong Kong's post-handover politics in 2047, but fades into incoherent dialogue after references to debates on marijuana, same-sex marriages and waste incinerators. French student Christine Deschemin's The Fox Spirit is arguably the anthology's finest work. But this beautifully written tale of a Hong Kong overachiever's chance, potentially life-changing meeting with a glamorous stranger in Yangshuo is lost at the back of the book. Nancy Leung shows fine story-telling potential with simple sentences, concise descriptions, and an easy, delightfully twisting plot in Single in the City . Peter Humphreys combines the city's past, present and future in The Parachutist , while Edmund Price's Location, Location, Location conveys the stress of fluctuating property values and changing family ties in Hong Kong and Vancouver. The circle's editors could have improved several stories by using the red pen. Such editing raises questions whether the circle's annual anthologies are still serious contributions to Hong Kong's English-language literature, or are now matey extensions of its cosy critique groups.