Abstract
Han Ong's Fixer Chao revises our understanding of ethnic and cultural mimicry by representing two versions of Feng Shui. On the one hand, the gay Filipino protagonist poses as a Feng Shui master in order to cheat and undermine his rich Manhattanite class enemies. Nevertheless, the environmental alterations he enacts have material and social consequences, and indicate the need for rethinking mimicry not only as a mode of subversion, but also in terms of spatial practices, affective loyalties, and geographical flows.
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