Death of a Red Heroine

well-known brands or the shop tags still attached to them. Underneath was a large collection of underwear that women’s magazines would probably term “romantic,” or even “erotic,” some of the sexiest pieces he had ever seen, with the lace being a main ingredient rather than a trimming.
    He was unable to reconcile the striking contrast between the two sides of the wardrobe.
    She had been a single woman, not dating anyone at the time of her death.
    Then he moved back to the chest, took the photo albums out of the drawer, and put them on the table, next to a tall glass of water containing a bouquet of wilted flowers, a pen holder, a small paper bag of black pepper, and a bottle of Crystal pure water. It seemed that the table had served as her dining table, desk, and kitchen counter—all in one.
    There were four albums. In the first, most of the pictures were black-and-white. A few showed a chubby girl with a ponytail. A girl of seven or eight, grinning for the camera, or blowing out candles on a cake. In one, she stood between a man and woman on the Bund, the man’s image blurred but the woman’s fairly clear. Presumably her parents. It took four or five album pages for her to start wearing a Red Scarf—a Young Pioneer saluting the raising of the five-starred flag at her school. The pictures were arranged chronologically.
    He snapped to attention when he turned to a small picture on the first page of the second album. It must have been taken in the early seventies. Sitting on a rock by a pool, one bare foot dabbling in the water, the other held up above the knee, Guan was piercing the blisters on her sole with a needle. The background showed several young people holding a banner with the words LONGMARCH on it, striding proudly toward the Yan’an pagoda in the distance. It was the da chuanlian period of the Cultural Revolution when Red Guards traveled all around the country, spreading Chairman Mao’s ideas on “continuation of the revolution under the proletarian dictatorship.” Yan’an, a county where Mao had stayed before 1949, became a sacred place, to which Red Guards made their pilgrimage. She must have been a kid, newly qualified as a Red Guard, but there she was, wearing a red armband, blistered, but eager to catch up.
    In the middle of the second album, she had grown into a young girl with a fine, handsome face, big almond eyes, and thick eyelashes. There was more resemblance to National Model Worker Guan as shown in the newspapers.
    The third album consisted of pictures from Guan’s political life. There were a considerable number of them showing her together with various Party leaders at one conference or another. Ironically, these pictures could have served to trace the dramatic changes in China’s politics, with some leaders vanishing, and some moving to the front, but Guan, unchanged, stood in her familiar pose, in the familiar limelight.
    Then came the last album, the thickest: the pictures of Guan’s personal life. There were so many of them, and they were all so different, Chen was impressed. Shots from various angles, in various outfits, and with various backgrounds: reclining in a canoe at dusk, wearing a striped camp shirt with a fitted skirt, her face calm and relaxed; standing on her toes by an imported limousine in sunlight; kneeling on the muddy plank of a little bridge, scratching her bare ankle, bending forward over the railing, the weight of her body resting on her right foot; gazing at the misty horizon through a window, her face framed by her tangled hair, a cloud of velvety cattail blurred in a distant field; perching on the steps of an ancient temple, a transparent plastic raincoat over her shoulders, a silk scarf drawn over her hair, her mouth half-open, as if she were on the verge of saying something . . . .
    It was not just that the pictures formed a sharp contrast to her “model worker” image in the previous album. In these pictures, she struck Chief Inspector Chen as more than pretty or vivacious. She looked radiant, lit from within. It seemed there was a message in these pictures. What it was, however, Chen could not decipher.
    There were also a couple of more surprising close-ups: in one, she was lying on a love seat, her round shoulders covered only with a white bath towel; in another, she was sitting on a marble table, wearing a terry robe, dangling her bare legs; in yet another, she was kneeling, in a bathing suit, its shoulder straps off, her hair tousled,