Free Sandalwood Death: A Novel (Chinese Literature Today Book Series) by Mo Yan

Tao, a sagely eminence from the period of the Three Kings and Five Emperors, who nearly succeeded the legendary Yu on the Imperial Throne. Many of the punishments in use and the penal codes honored today originated with him. My shifu told me that our Patriarch needed no knife to dispatch a victim—by staring at the victim’s neck and slowly rolling his eyes, he could make the man’s head fall to the ground on its own. Ancestor Gao Tao had phoenix eyes, brows like reclining silkworms, a face the color of a jujube, eyes as bright as stars, and three handsome tufts of whiskers on his chin. He bore an uncanny resemblance to the warrior Guan Gong of the Three Kingdoms period. “The truth is,” Grandma Yu said, “Guan Gong was a reincarnation of Gao Tao.”
    Following a hurried breakfast, we rinsed our mouths, cleaned our teeth, and washed our faces. Second and Third Aunts helped us into our new court attire and placed red felt caps on our heads.
    “Shifu, Elder Apprentice, you look like bridegrooms,” Third Aunt complimented us.
    Grandma Yu gave him a stern look, showing his displeasure with the comment. One of the conventions of our profession is a proscription against silly or foolish words before or during an execution. Any violation of that taboo can summon the ghosts of wronged victims or evil spirits. You often see little spinning dust devils in the marketplace. What do you think they are? They are caused not by wind, but by the spirits of those who were put to death unjustly.
    Grandma Yu took a bundle of prized sandalwood incense from a willow case, gently extracted three sticks, lit them from the flickering candle on the Patriarch’s altar, and inserted them into the incense burner. He went down on his knees, followed hastily by his three assistants. Grandma began muttering softly:
    “Patriarch, Patriarch, today we will carry out our task in the palace, with enormous consequences. Your offspring ask for your protection and guidance in the proper performance of our duties, and for that we kowtow to you.”
    Grandma Yu banged his head loudly against the brick floor. We did the same. Our Patriarch’s face glowed red in the candlelight. Altogether we each kowtowed nine times before standing up, starting with Grandma Yu, and stepping back three paces. Second Aunt went outside to fetch a celadon bowl; Third Aunt went outside and returned with a white rooster with a black comb. Second Aunt placed the bowl in front of the Patriarch’s altar and stepped aside, going down on his knees. Third Aunt knelt directly in front of the altar and held the rooster by the neck with one hand and by the feet with the other, stretching it out horizontal. Second Aunt then took a dagger out of the bowl and neatly sliced the rooster’s neck. For a moment no blood appeared—our hearts nearly stopped, for killing a rooster and drawing no blood augured a botched execution. But then the blood—so red it was almost black—spurted from the wound and into the bowl. Blood surges through the veins of roosters with white feathers and black combs, and killing one before an execution is for us an essential ritual. Once all the blood had drained out of the rooster, the two aunts placed the bowl on the altar, kowtowed again, and backed away, bent at the waist. Grandma Yu and I stepped forward, fell to our knees, and kowtowed three times. Then I followed his lead by sticking the first two fingers of my left hand into the bowl and painting my face with the rooster’s blood, like an actor applying stage paint. The warm blood made the tips of my fingers tingle. There was enough to paint both our faces, and a bit left over to turn all four hands red. Now our faces, mine and Grandma Yu’s, were the same color as the face of the Patriarch. Why had we used rooster blood? To unite us with the Patriarch, but also to notify those spirits of the wrongly executed and evil spirits that we were descendants of Master Gao Tao, and that when we put someone to