Chapter 4 uses the figure of the mirror as a way into questions of mimesis, by which I mean sensuous, contact-based imitative practice, rather than “realistic” representation. This chapter theorizes what I call “mirror games,” which are embodied mimetic performances that find Bechdel experimenting with the space between self and other, subject and object. These games are about negotiating what it means to be her own person, a person who comes out of the body of her mother but who lays claim to a separate self. Is there a mode of mimetic reproduction that is enabling rather than annihilating? I investigate Bechdel’s corporeal, sensuous relationship to mimesis at three sites: photography, diaries, and symbolic play. At each site, Bechdel negotiates her similarity to, and her difference from, whatever it is she is copying: her mother’s face, her father’s photo album, a parent’s handwriting. The line is touch, caress; the line is also an edge that marks distinction, dividing this and that, me and you. Through these procedures, Bechdel develops a relational self that passes through alterity, as through the looking glass.