Published ten years after the handover of Hong Kong, Xi Xi's novel My Georgian (2008) appeared during a time when social movements were rampant. This work, however, abandons the author's preferred topic of Hong Kong, and focuses instead on the story of building a dollhouse. Whereas some critics regard My Georgian as an escapist, lightweight work, this paper argues that the novel challenges the very boundaries between the common understanding of "important" and "trivial" and between "public" and "private." By situating My Georgian within its historical and social context of preservationist movements, especially the social movements to preserve the Star Ferry Pier and Queen's Pier (2006-7), this paper regards the playfulness of building a dollhouse as a parody of preservationist movements, and analyzes how Xi Xi's work turns an historical building into a space-time "passageway" and intervenes in the "monumental," "public" sphere through playing with a "miniature," "private" dollhouse. This paper also posits that her novel subverts our presumptions of the hierarchical and binary opposition of these concepts and fosters critical reflections on not only the planning and design of buildings and spaces in the city, but also the representations of history, as well as their relationships to art and literature