In recent decades, Chinese writer Wang Anyi has been recreating Shanghai, a time-honored symbol of bourgeois modernity and consumers, as a city of laborers, rescuing the unique experience of the Chinese working class from the siege of commodity fetishism revived by China’s entry into global capitalism. Many of her stories produced in the 21st century, such as Meitou, Fuping, Growing Red Water Chestnut Above and Lotus Below, and Scent of Heaven, feature independent women laborers in Shanghai. In particular, her 2000 novella Fuping creates aesthetic, flexible, pluralistic, and accommodating communities for working class women thriving in mid-1960s Shanghai. By portraying working class women, most of them doing paid domestic work, as a distinct social class with a distinct gender identity, Wang’s recreation of this utopic Shanghai serves as a reinterpretation of the orthodox ideology (historical materialism) and gender policy during the socialist period. At the same time, this utopic Shanghai for working class women also offers an antidote to the masculinist enterprise of consumerism and global capitalism in our current age. Wang’s recreation of Shanghai as a city of laborers is a meaningful practice of rearticulating gender and class without subjugating one to the other, and an exemplary form of feminism with Chinese characteristics. Understanding Wang Anyi’s literary recreation of Shanghai women laborers can help us understand the complexity and plurality in her feminist stance.