Nina Mingya Powles' Magnolia emerges out of the scalloped terrain of cinema, portraiture, dreams, and translation in which lush decay exists alongside hunger. The seemingly distant and intimate are violently reversed, splitting flesh to reveal Shanghai as the site of an expanding record of global selfhood and home. Sharpness and lightness entombed like the 'loam-eyed wolf-flowers' calling back from silence, stillness, death, and life.–E. J. Koh, author of The Magical Language of Others and A Lesser Love