In 2219 CE Luoyang, a city patched together after the Great Catastrophe, the half-human, half-fox spirit Yinhe moves through her most recent incarnation. The city is watched over by No. 1, an artificial intelligence housed in a giant brain created by the scientists of Central Government, which entertains and monitors all the inhabitants of the city, both human and chimerical. But No. 1 is starting to behave erratically and the power of the Spirit Supreme Assembly, with its demand for pure bloodlines, is growing. Yinhe is summoned to the Dream Zone, where the chimerical creatures formed by the scientists are contained to do the most dangerous jobs of the city. There Yinhe is given information that will give her the chance to create great change in the city, to stave off an ancient enemy and, perhaps, to reunite with her soulmate, lost many lives before.

Weaving a silken web of Chinese myth, speculative fiction and storytelling Lydia Kwa has brilliantly realized a future where questions of sentience, of personhood and of the truth of dreams wrap around a timeless quest for freedom and for love.

Lydia Kwa was born in Singapore but moved to Toronto to begin studies in Psychology at the University of Toronto in 1980. After finishing her graduate studies in Clinical Psychology at Queen's University in Kingston, she moved to Calgary, Alberta; then to Vancouver, BC, and has lived and worked here on the traditional and unceded territories of the Coast Salish peoples since 1992.

Kwa has published two books of poetry (The Colours of Heroines, 1992; sinuous, 2013) and four novels (This Place Called Absence, 2000; The Walking Boy, 2005 and 2019; Pulse, 2010 and 2014; Oracle Bone, 2017). Her next novel, A Dream Wants Waking, will be published by Buckrider Books, an imprint of Wolsak & Wynn, in Fall 2023. A third book of poetry from time to new will be published by Gordon Hill Press in Fall 2024.

She won the Earle Birney Poetry Prize in 2018; and her novels have been nominated for several awards, including the Lambda Literary Award for Fiction.

She has also exhibited her artwork at Centre A (2014) and Massy Art Gallery (2018) and has self-published two poetry-visual art chapbooks. An essay “The Wheel of Life: From Paradigm to Presence” appears in the art catalogue In the Present Moment: Buddhism, Contemporary Art, and Social Practice by Haema Sivanesan (Art Gallery of Greater Victoria, 2022).

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