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This research note is a textual comparison between different versions of Deng Xiaoping's two speeches in May and June 1989 using recently accessible scanned copies of original documents distributed to local officials. It reveals numerous alterations—including both deletions and additions—in the later published texts. The research note suggests that in the context of the early 1990s, these editorial efforts were made to restore the legitimacy of the Chinese Communist Party by highlighting Deng's image as a pragmatic reformer, maintaining Jiang Zemin's position as the core of the new leadership, downplaying the party's internal struggles and corruption, and assuring people that China would continue its market-oriented reform. More broadly, findings in the research note showcase the essential role of propaganda in legitimation under the Chinese communist regime.

Editor's Introduction Originally published in Volume 55, Number 1, Spring 2010, pages 1-8. Preston McAfee (born 1956) is an economist for the digital age. He currently serves as Chief Economist and Corporate Vice President for Microsoft after working in similar positions for Google and Yahoo!. His corporate career follows a distinguished tenure in academics at institutions such as, the University of Texas at Austin, and the California Institute of Technology. Professor McAfee's research centers on applied problems in microeconomics and industrial organization. He is known for his award winning work in auctions and mechanism design. Between 2007 and 2012, Professor McAfee served as Editor of Economic Inquiry, the flagship academic journal of the Western Economic Association International. This paper recounts his experiences with editorship and provides valuable insight into the traditional peer review process of economic research. Professor McAfee describes the logic behind his innovative "no revisions" submission policy that was introduced by Economic Inquiry during his time at the helm. Authors, referees, and editors will all find something useful to take away from this article that was part of series published by The American Economist to highlight the role of editors and journals within the economics profession.

Intro -- FrontMatter -- Special Acknowledgments -- Foreword -- Contents -- Boxes and Figures -- Summary -- 1 Introduction -- 2 The State of the Science -- 3 Potential Applications of Heritable Human Genome Editing -- 4 A Translational Pathway to Limited and Controlled Clinical Applications of Heritable Human Genome Editing -- 5 National and International Governance of Heritable Human Genome Editing -- References -- Appendix A: Information Sources and Methods -- Appendix B: Commissioner Biographies -- Appendix C: Glossary -- Appendix D: Acronyms and Abbreviations -- Acknowledgment of Reviewers.

My documentary film Intervals of Silence: Being Jewish in Germany grew out of innumerable conversations in which I found myself poised between my American Jewish background and the German Catholic background of the man I married. In these conversations, I was often expected to answer questions such as "How much anti-Semitism is there in Germany today?" or "Are young Germans interested in knowing about Jewish life?" My film, which contains more than 200 statements from sixty different German speakers, is the answer I would like to give. In this essay I focus on one scene in my film and discuss the editing process by which I translated the experiences of real life into film form. (D.L.)

This article examines the challenges experimental writing poses for textual editing, drawing on the experience of the Dorothy Richardson Editions Project, which was inaugurated in 2007 with the aim of producing new scholarly editions of Richardson's fiction and letters. Here we focus on Richardson's thirteen-volume novel sequence Pilgrimage (1915–67) and the particular problems its constantly unfolding experimental aesthetic present for both the critic and the scholarly editor. We adopt Adorno's concept of 'constructive methods' to describe Richardson's project, the composition of a narrative without a predictable endpoint, asking what kind of editorial practice best captures her unconventional and deliberately inconsistent approach to writing. We conclude by discussing the implications that editing Pilgrimage might have for a broader understanding of modernist aesthetics.