This paper discusses the notion of motherhood, which traditionally has been culturally and legally established on genetic kinship claims. Today, however, reproductive technologies have already expanded the scope of motherhood to include a range of possibilities. By examining an award-winning Chinese science fiction novella “In This Moment, We Are Happy” (2018), I argue that sci-fi narratives are particularly well equipped to clarify the global controversy over the ethical, moral, and gender implications of real and imaginary breakthroughs in human reproductive technologies. “In this Moment” tells five different yet interwoven stories: a Chinese female entrepreneur who hires a surrogate to bear her child, an Indian surrogate mother who carries a baby for her client, a Japanese male performance artist who conceives and delivers a child as an art project, a German lesbian couple who are the first to produce a child where they are both the genetic parents, and a secret organization with technology that completely excludes individual humans from participation in reproduction. Through a textual analysis of the five stories, I first outline the new reproductive technologies that the author thought could emerge in a linear, progressive fashion, and then discuss how the emergence of these technologies might lead to a corresponding shift of reproductive roles and a subsequent redefinition of motherhood. Next, I demonstrate how the author adopts the innovative form of a documentary script to simulate the responses of readers, and by extension the publics they represent, to the emergence of unconventional reproductive roles. Lastly, I argue that the author adopted a pro-feminist stance in his narration, which, I believe, is appropriate and powerful in that, for better or worse, women are likely to be most affected by the emergence of alternative reproductive roles and the subsequent redefinition of motherhood.