Afterword. Frances Ya-Chu Cowhig's The Wild of Extreme Happiner begins as Li Han, a coal miner in rural China and the father of the play's principle protagonist, describes dream. Xin Xin, who the audience member i led to believe is a prostitute, comes to his bed and sits on his face, While “savoring her warmth on | iy skin,” Li Han i surprised to find “something hot and gooey side down my cheek.” When he realizes that Xin Xin has “laid a curd berween my eyes,” instead of responding with revulsion, he describes it as “salty, and sweet, Like tof, fermented with black beans.” There is an uncomfortable isconnect for the audience member, being asked to imagine @ seemingly abject occurrence (human feces falling onto one’s face and into an open mouth) as potentially nourishing. Li Han’ fiend, Ran Feng, interprets the dream thus: "You accepted shit into your mouth and digested it.” A few moments later we learn that Xin Xin isnot, in feet, a woman, but one of ‘Li Han’s beloved racing pigeons. While hs fecophilic dream ‘may seem no less unsettling to some inthe audience, Li Han’s ‘metaphor of fermented tofu with black beans sil asks us to imagine “shit” as something that is not only digestible, but potentially delicious. ‘Ran Feng’s explanation of Li Han’s dream seems to resonate with the Ai Weiwei quote Cowhig chose as an epigram to this edition of the play Th ths sene, the “people” have come to swallow shit (“the deceptions of culture”) and learned to digest it as they've “abandoned their rights and responsibilities.” But just as Xin Xin's identity is unstable inthe opening scene (is she a prostinte, ora bird”), what itis that constitutes “the people” and/or the object of criticism in Cowhig’s pay is ‘no more stable. Are we to understand “the people” as the eponymous source of power in the People's Republic of China (PRC), as “the people” of US-syle constitutional democracy, the people in the audience, or the specific people onstage in front of us? Perhaps more important isthe question of what or ‘who is the source of the “Shit” that the people94 ‘The World of Extreme Happiness happily digest? In these notes I will open up a few possibilities {or approaching thete questions. ‘The play follows Sunny, Li Han's daughter, after she is born ino rural poverty in 1992. Sunny is discarded and left o die in a garbage can when her gender is revealed as female at birth Surviving against the adds, she grows up and leaves her home for the bustling urban center in Shenzhen to find work in a factory. There, Sunny is caught up in a web of conporate and political intrigue. Due in part to her aspirations co climb the ‘corporate ladder and become a selfamade success, Sunny becomes a pawn in a transnational company’s cynical public relations campaign, resulting in her uter destruction, ‘The play is set between 1992 and 2012, an era of extraordinary transformation that arguably began with the brutal government and military crackdown on the 1989 Democracy Movement. Popular Western conceptions of June 4th, 1989 often frame itas a pro-Westemn-syle democracy uprising against the staunch authoritarianism of the Chinese Communist state. But the 1989 protests were a complex constellation of grievances that were partially responding tothe state's use of anti- democratic measures to forward antisocialist reforms in pursuit of then President Deng Xiaoping’s newiy articulated socialist market economy” Indeed, as many cultural critics hhave since observed, many of the students were motivated by critciam of the rampant corruption fostered by capitalist reforms as wel as by apposition tothe increased privatization of formerly worker-controlled and stated-owned incistry. In other words, students were not anly protesting for democratic reform but in some cases simultaneously protesting against the state's increasingly capitalist policies.) The specter ofthe June Ath maser in Tananmen Square ang heavy over The Wel of Eton Hoppin, ox 0827 inthe fon of Li Ha bros wo we lear was led as rotate in Being Bote a he pase that rox comps ows characters so mach ase prin ofthe ae “Th Suny borin 1992 important. Ate few years of Allerword 95 internal instability following the events of 1989, the PRC shifted to governance by what cultural eric Xudong Zhang describes asthe pro-market reform, “bureaucratic and technocratic elt, itself the biggest beneficiary of Reform policies” In 1990 and 1991, stock exchanges were opened in ‘Shanghai and Shenzhen, respectively, Deng Xiaoping, who hhanded the Presidency over to Jiang Zemin in 1989, publicly re-emerged in 1992 the year af Sunny’s birth) to promote his vision of pro-market reform. By 1997, with the support of the Fifienth Congress of the Chinese Communist Party, President Jiang publicly endorsed a shareholding system that would further facilitate the privatization of state-owned enterprises in an increasing shift towards capitalist reforms, ‘Named Sunny, our heroine thus embodies the dawn of this New Era in Chinese polities, She is iterally rescued from the garbage bin of the past and her story is significant of a new kind of ideal Chinese subject, with a selfsacrificing, entrepreneurial, pro-market spirit. Her journey roma rural (China to the bustling urban center of Shenzhen might then be understood as reflective of the shift from the peasant proletarianisn of the Maoist era to the pro-market ideology of the new one. In this sense, the play is much more than a simple critique of the PRC. Rather, it sa nuanced meditation on labor and life in the post-Tiananmen period whereby, as Zhang remark, “the central political tension in Chinese society today isnot so much the discrepancy between a Communist {government and a market environment ~ since the two have already effected a corporatestyle merger ~ but rather an intensifying conflict between ths interest groups rational sel interest and its unchecked power and corruption, wiih put it in direct conftontation with society at lage.” ‘Toth end the seing of the pli in Shenrhen signin. Ashe ower of the fear where Sunny ns employment expla, Shenshens one of Chinas Special Boor Zones (S£2s). Located lrg along China's astern border SEZ are deine an paces that ae exemp fom a rnge of he IRC wand regan ont the wont he Fath96 The World of Extreme Happiness Congress, to “encourage foreign citizens... to set up factories and establish enterprises and other undertaking.”* SEZs are largely reliant upon migrant labor from rural areas and, as anthropologist Aihwa Ong observes, “zone workers are considered peasants unprotected by China’s labor laws and are ‘ot entitled to social benefits due workers elsewhere in the country”? What makes SEZs unique is thus the fact that they are effectively outsce of what many in the West refer to as the administrative state of “Communist China.” They are instead ‘capitalist zones that function under divect control of the central (Chinese government, The results dat, a in similarly constituted free-trade zones in places such as Indonesia, “workers are denied the most basic of social protections and are generally ‘unshielded from the onslaught of capital while remaining vulnerable tothe state's repressive apparatus."® These are precisely the conditions that result in Sunny's destruction. ‘That the exploitative conditions inside of SEZs were established with the explicit goal of attracting foreign capital undermines any attempt o read The Word of Extreme Happiness asa strict critique of the PRC's governing policies insofar as tlobal circuits of production and consumption are equally culpable. Returning to my question about what isthe “source” ‘of the abjec ith that “the people” are willing to swallow, we find a monster with two heads: the repressive apparatuses of the central Chinese state and the econamic conditions produced by transnational capitalism. The regime of capitalist exploitation that structures labor conditions within factories in Shertznen is present throughout the play and Cowhig is careful to remind us that Western economic ideology investment, and ‘consumption are prime structuring factors in this model of development. For example, factory owner James Lin and business executive Artemis Chang are literal embodiments of the New Era’s marriage to Western market reforms. They have taken recognizably Western names and, indeed, Artemis (the daughter of accused counter-revolutionaties is neatly representative of the new economic elite in China. Educated at Harvard and a shining example of global cosmopotitanism, Afterword 97 ‘Artemis wants nothing more than to place the past under erasure, embracing a vulgar capitalist ideology of selfishness and the pursuit of wealth: "There are only two roads to walk down... You can see the truth ~ and always be in pain, Or we ‘can look away and be rich. And safe. And hap.” But look zovay from what? Early in the play, as James and Artemis discuss a “spate of| ‘worker suicides” at Lin’ factory, Chang suggests that Lin “Follow the example of Fox-Conn and ask them to sign a nno-sucide pledge.” Fox-Conn is a multinational Taiwanese ‘owned corporation responsible for the manufacture of many popular commodities including Apple's Phone and iPad, In recent years, Fox-Conn has become notorious forte exploitation and abuse of laborers in its Shenzhen factory. Drawing a subtle connection between the horrors and abuses that structure the world of the fictional factory i the play and the very real Fox-Conn, Cowhig i gendy asking the audience to look towards and atthe exploitative labor conditions that are rendered invisible in che final commodity form of the popular electrons that line our pockets, ‘And if we are quick to indict che Chinese government for using brutal tactics to maintain this system of production, the play is unvilling to allow consumers to shirk responsibility {or our role in these practices. Ths is most apparent when Artemis complains about the “violent tactics" of the Chinese government to policewoman Qing Shu Min, To this, Qing ‘wryly quips, “Why would we change when everyone wants to sleep with us just the way wwe are?” Having made the link between Fox-Conn, the Western media, and Western consumers easier in the play this exchange isa subtle indictment of the audience member’s own complicity with and relationship tothe violence that we see carried out on stage, Qing deploys a sexual metaphor, which aleo invites us to think ‘back to Li Han’s dream and question what itis that we've been willing to “look away” from in order to continue “sleeping” With a regime that allows us to consume and digest the sweet and salty “shit” that surges forth from Shenzhen! factories,98 ‘The World of Extreme Happiness {Fo capitalism and sate repression are targeted by Cowhis's narrative, part of what makes The Word of Exams Happiness 80 compelling isthe author's unwillingness to relinquish Sunny’s| ‘own agency in her story. Although she is erafted to be sympathetic and even iceabe, she's hardly uncompromised, Perhaps more than any other character in the play, Sunny embraces the ideology of seli;promotion and corporate ambition, With resonances of Artemis’ personal history itis not difficult to imagine Sunny as a younger version of Chang “Throughout the play Sunny iteraly speaks inthe catchphrases of capitalist apportunism, becoming an enthusiastic protege of| ‘Mr. Destinys smoke-and-mirror seep classes, At one point, she defines her desir for class mobility in relatively petty terms: onee she makes her fortune she wants to "go back to the countryside and laugh at everyone who's sill poor... and living in din.” Her ambition leads her to betray her best fiend and her pettiness results in an set of erueley against her father ‘that, though matched by his own callous treatment of his clude, is no less horifjing to watch, Infact, Sunny only tmuly becomes a heroine inthe final instance, when she performs a public account of the horrible conditions experienced by the working masses in the New Era. If Sunny is significant of the dawning hope of the New Era in China, her death might then be understood asthe los of @ hhope that was little more than a lie Inthe final sequence, she is destroyed, mentally and physically, by the states violent response to her revolutionary action. But in cis las scene ‘Cowhig offers us a new hope in the form of a utopian vision of a changed and better world. The world of happiness that we Jmagine asthe “Sunshine Revolution” is not one of uncestrained {ree-market entrepreneutialism or state-based represion ‘Rather, Sunny’s brother Pete tells the story of @ world in which the people collectively and spontaneously reject the filth that they have been digesting in order to rise up against the forces that have appropriated the people's name, and thas their ‘constituent power. Against capitalism’ false assurances of. individval enrichment, and against the authoritarianism of Afterword 99 the Chinese central government, Pete allows Sunny (and by extension, the audience) to imagine a “perfect society” built on the empowerment of te masses, true democracy, iberty, and the promise of the collective struggle for justice. By allowing us ‘o imagine this promise, we are assured that such a world is possible, In what he does next, Pete reminds us of the painfal zap that we must bridge between chat world and this one. Joshua Takano Chambers-Letson Northwestern University 1, Fer more, se: Nudong Zhang ed, Whi China: nls! Pits in Contemp Chine (Duchars, NC: Duke Universty Press, 200). 2. Xudong Zhang, "The Making ofthe Pot-Tananen Intlectul Field: A Crical Overen”in Wir Cin: Fla Pisin Contemporary Chins, ed. Xudong Zhang (Durham, NC: Duke Univery| Press, 2001, 7 8. Ti 4 Fith Naional Peoples Congres, "Regulations on Special Economie Zones in Guangdong Province” Avalible at: wrnovexe.com spuangdong.regs_on_sezhuml, acces September 7, 2013. 5, Awa Ong, Nebel a Ein: Matin Cicanip end ‘Seri (Duthar, NC: Duke Univerty Pres, 2006, 106, 6. Aiwa Ong, ile Celi The Cla Lais of Tranationaiy (Durham, NC: Duke Univesy Pres, 199), 224,