from here, but you could do a mental X-ray and sense how the cityscape seethed with it. Taipei is home to four million and counting. I wondered: why has Sunny Chen chosen to take me to a place where the vivid living and the unforgotten dead converge? Far below, black birds whirled above the skyscrapers like coarse flakes of ash. After a few moments we turned and wandered among the family shrines: low, squat constructions with wide thresholds. Some lay crumbling and neglected, while others were lavishly tended ancestral showcases.? The higher surrounding walls featured alcoves containing urns. Stray cats sunned themselves on the cracked slabs, or nudged at the remains of food offerings. After the air-conditioned taxi the air was sweltering. A hot breeze came from the west like the blast of a hairdryer, shaking the black-stemmed bamboos and rustling half-burned paper models attached to shrines. Small mounted black-and-white photographs of the dead glinted in the sun, dotted with rainwater. You could see the legacy of Qing Ming, the April tomb-sweeping festival in the form of soggy, charred incense sticks, plastic and silk flowers and the remains of burnt offerings. Streams of red ants transported ancient food crumbs amid faded and rain-damaged cardboard or paper replicas of coveted objects: miniature houses, yachts, cars and mobile phones, all fitting, I supposed, into the cultural category known as popular kitsch. The artistic standard was not high.
‘Is this where your ancestors are?’ I asked.
‘Over there.’ He pointed to a shrine, studded with photographs, only two of which were in colour. Most of the faces were stern, though one woman wore a half-smile. The men were jacketed, and the women wore cheongsams. None of them resembled Sunny Chen. ‘You don’t expect them to be dressed in rags, do you?’ he blurted angrily. He waved his hand at the photographs. ‘You think they will look like in the photos. Normal size. Wearing smart clothes. You don’t imagine they smell bad. You don’t expect them to eat insects.’
I waited for an explanation for this bizarre outburst, but none came. His face flickered in an agitated way. Then he reached in his inner pocket and brought out a wad of scarlet paper, ornamented with gold. Hell notes. Each leaf of the pretend currency was covered in Chinese characters. I recognised a few of the simpler ones, such as ‘heavenly’ and ‘respect’. BANK OF HELL was stamped across the bottom of each in English.
He handed me a note.
‘Can you please make me one small man?’ he asked. I couldn’t read the expression on his face. ‘Let us sit there.’ He pointed to a shrine shaded by a feathery-leafed tree with candelabras of furred buds.
On its low surrounding wall I laid the Hell note flat, folded a line and ripped it to a square. He sat next to me and watched as I folded. The wall was dry, but these were still not ideal conditions. I had no proper work top and the cheap paper dye left red stains on my fingertips. When I’d finished, I handed him the squat figure – boxy limbs, triangular head – and he accepted it with both hands and a jerky nod. The little man glinted red and gold in his palm.
I hadn’t done a very good job. It was clear he thought so too, because he reached for a plastic lighter, which had the Chinese character for ‘good fortune’ engraved on it, and angled it beneath the man. I was glad he was going to burn it. It’s exactly what I do myself, to poor specimens. It’s what you might call a cathartic ritual.
But he was hesitating.
‘Who is he?’ I asked.
He laughed. ‘Who do you think?’ he said, igniting the pointed end of the man’s leg. I would have bent it to form a foot, but in these conditions it was too fiddly. A bluish flame crept up the paper limb.
‘I don’t know.’
I feared he would burn his skin but he dropped the flaming paper just in time. Together we watched the little effigy blaze, shrivel to a crisp and waft sideways,