Thursday, September 29, 2016

EGYPT WRITING - thriller, mystery and suspense...

The Seated Scribe - Louvre

Tuesday, September 27, 2016

Not even Egyptian, so why does Washington Monument appear in THE OBELISK CONSPIRACY?

A chase to find one Egyptian obelisk that can destroy civilization...

“The Washington’s Monument isn’t even from Egypt,” Jennefer said. “In fact, it’s unlike Egyptian models in concept since it was built with thirty-six thousand separate stones including display stones donated from around the world. If we’re going to include that obelisk, we might as well count the millions of faux obelisks in cities, military cenotaphs and graveyards around the world, where they’ve come to symbolise stability, eternity and resurrection.”
“Yet the obelisk plainly borrows from Egypt’s past” Jon said, “and is steeped in Freemasonry symbolism...

Amazon Kindle, second in THE EGYPTIAN MYTHOLOGY MURDERS series

FALCON-HEADED PHARAOH. The all-time most eerie Egyptian coffin?

The hawk-headed silver coffin of Shoshenk II (22nd Dynasty, from Tanis)

In striking silver (in its time, as precious as gold).

Monday, September 26, 2016

What dangerous secret did it see beneath the Egyptian desert sands?

"Taking the mystery thriller to new heights" - on Amazon Kindle
"EGYPT EYES". The space archaeology thriller. *****5-star Amazon US

"LOVE THIS GENRE" ***** Egyptian mythology based suspense and mystery thriller trilogy

She was brought to life in a hospital scan, 5000 years after dying in ancient Egypt.....

The radiation scan - at a dose lethal for the living - blasted through her linen windings. It was like a penetration of sunlight warming the bones after the ache of the desert night.

The CT machine hummed. A spinning cylinder curved around the mummy’s head like a night sky arching over Egypt.

The sand-dry cells of the body, spread out in an undulating landscape on the CT tray, stirred in a sudden breath.
Life! Resurgent life! It eddied, thickened, mounted in force, blowing, gusting, then blasting through the mummy like a desert sand storm...



Saturday, September 24, 2016

E.BOOK EVOLUTION. Today's trend from paper to 'Living e-books' is selling a long-dead civilization in fiction

BRING ANCIENT EGYPT TO LIFE under your fingertips, here at AMAZON KINDLE

Why today I prefer my ancient Egypt E-fiction to the 'dead-tree technology' of printed books... (though I still love, and am eternally indebted to, print)

I never thought I'd say it.

While I sell fiction in both forms, I get far more satisfaction from selling my series of ancient Egypt adventure thrillers in e-book form than in paperbacks.

Print version

Maybe I'm just over the dead-tree technology of paper publishing. 

Used copies of 50 Shades build a fort in a 2nd hand bookstore - how many trees died in the making of this picture?

There's something alive and immediate about e-books that breathes new life into reading - and being read.

E-books are fresh, for a start - they avoid the glacial slowness of book publishing and literary agencies. E-books seem to me to be the perfect medium for capturing and sharing the quicksilver nature of ideas.

Yet, ironically, there is a permanence about e-books that paper, and even papyrus, could never achieve. 

E-books don't go out of print, either. They are forever. 

They don't yellow, fade, gather mildew, dust and eventually rot.

You can read in the dark, don't need to angle that bedside lamp just right.

You can live a mobile life and have your books.

They don't smell like books, true, but neither do they smell of dust.

In fact there is some of the permanence about e-books that I admire in the ancient Egyptian civilization itself.

So for me it's the perfect way to bring a long dead civilization to life for my readers.

Friday, September 23, 2016

Did ancient Egyptian women get a bad press?

Hathor leads Rameses firmly by the hand, Temple of Luxor

Seductive Egypt

Beware the girl from other parts, whose town and family is not known. Do not stare at her when she passes by. Her heart is deep water whose windings one does not know, a whirlpool with unpredictable eddies.
"Ancient Egypt is inextricably bound up with the feminine principle, in my mind at least. I suspect that my intense interest in Egypt is linked with the fatal allure of Egypt’s feminine. And fatal is the word. The mysterious female of Egypt was the most deadly and ruthless of the species and they have a long history to prove it, from Potipihar’s wife, who attempted to seduce and then falsely accused Joseph, to the Egyptianised Greek Cleopatra, who murdered her young brother Ptolemy and seduced Rome’s leadership.
Then of course there is the parade of snaky goddesses on tomb and temple walls, the most dangerous among them being Hathor-Sekhmet, a female who transformed into a marauding lioness in order to destroy humankind. Even in fiction we meet the perfidious Nefer-nefer-nefer in ‘Sinuhe, The Egyptian’..." Anson Hunter, alternative Egyptologist's blog in 'The Smiting Texts'.

Excerpt from 'The Smiting Text'...
“There’s no civilization so seductive,” Kalila said.

“Seductive is the word. I find the graphics of ancient Egypt pretty ravishing, I must admit,” Anson said.

She smiled.

“You find them erotic?”

“Hell yes. I can easily imagine myself being grasped possessively by one of those dark-eyed goddesses in the frescoes and reliefs. The art of ancient Egypt ensnares you with its atmosphere of pervasive mystery.”

“Yet there is rarely any lewdness portrayed in Egyptian art,” she commented. “Except for a few scurrilous doodles on ostraca. The Egyptians achieved a sense of sexual tension in far more subtle ways, in the ladies with their diaphanous gowns, painted eyes and gala wigs that sent an erotic signal. Then there were the other coded symbols, the scented delta of a lotus blossom held under a nose, the ducks and geese, or a monkey playing under a chair, the possessive arm slung around the waist of a husband, the intent, very-interested eyes of a goddess taking the pharaoh by the hand. It’s all there, but in the oblique Nilotic way. There is a love poem where the girl bathes in the stream with her beloved and says: ‘I'll go into the water at your bidding and come up with a red fish who will quiver with happiness in my fingers.’”

“I don’t get it,” he said, putting an expression of puzzlement on his face. “I hope you’re going to explain it to me.”

“I’ll do nothing of the sort.”


A virtual global Super Museum one day?

Amazing 3D printed TUTANKHAMUN MUMMY accompanying an exhibition.

Following on from the story of the surreptitious 3D scan of Nefertiti in the Neues Museum in Berlin taken by a pair of artists, here's an example of another perfect replica using modern technology.

Can a virtual global Super Museum be far away?

Or, instead of having a movie room at home, maybe people will one day have their own private museum gallery with a constant rotation of the world's most treasured artefacts.

Thursday, September 22, 2016

PUT A HEX on America? "Why bother...?" THE SMITING TEXTS

UPDATE (Maybe this idea from my novel was prophetic, after all...)

Curses against nations - execrations or smiting texts, were the most virulent of all

THIS WAS GOING to be a tough room.

Yet the theatrette at Johns Hopkins University was a much more smoothly operating venue than he was accustomed to.

For a start, his PowerPoint presentation was working. A title slide, thrown up in huge scale on the screen, showed an image of an ancient Egyptian wall relief from the temple of Abu Simbel. It was an archetypal smiting scene. A pharaoh, at full stretch, grasped the hair of a clutch of foreigners in one hand, while in the other he held an upraised mace. Poised in the ultimate iconography of menace, he was about to smash in the unfortunates’ heads. A caption said:


Ancient Egypt’s WMD - Weapons of Mass Destruction.

He’d spelt out WMD. Although his typical audience loved baffling mystery and the wildest theory, they didn’t care for him to be cryptic.

But this was not a typical audience today.

He found himself looking out across a corporate, academic, scientific and industrial powerhouse of America. Anson faced the consortium in the cool blue light of a stage area and tried to make out individuals’ faces in the theatrette-style auditorium.

One in particular caught his eye. Dr Melinda Skilling, a brilliant and real Egyptologist, of the establishment kind. Young for her achievements, and darkly pretty, she looked altogether too glamorous to bury herself in the dust of ancient Egypt. Melinda was Chair of the University’s Near Eastern Department. He’d read her books. She’d probably shuddered at his books, both of the nonfiction and fiction variety, although some people categorised all of his work as fiction. ‘I doubt if she’s an avid reader of my alternative ancient Egypt blog,’ Anson thought.

“Egypt was the original Superpower,” he said. ‘Superpower designating not just what you are, but what you possess. And power they had – not just the military kind. Supranormal power. Smiting rituals and execration texts, expressed through pottery, papyrus, bone and architecture. Remote killing, you see, was a state instrument of power. Take this pharaoh here, Rameses the Great, giving a clutch of vile foreigners a headache by bashing in their craniums with a diorite mace. This was not just a piece of wishful propaganda, although it was certainly that too. No, it was a detonation. These were esoteric armaments, you see. Nobody doubted that, for hundreds of miles around, enemies of the state would weaken or simply be flattened, knocked down dead as if by an atomic blast.

“Smiting scenes and execration texts are quite common and shards and clay figurines, upon which were written names of enemy countries and accompanying formulae, are found all over Egypt. This state weapon took over where the instruments of warfare could not go. In fact, the ancient Egyptians firmly believed that the power of such imprecations could reach out beyond temporal boundaries and smite across the ages. They would recite incantations, often employing repetition, then smash the pottery and generally trample, burn and bury the pieces to activate a spell of destruction, in the belief that this could break the power of any nation and all nations. They called on the fiercest gods and goddesses of Egypt’s pantheon to help in destroying every enemy, human or spiritual. And several divinities were pretty fierce, like the lioness-goddess of destruction and plague, Hathor-Sekhmet – a ferocious entity representing apocalyptic power and the instrument of vengeance that Ra unleashed when he pronounced an execration against humankind.

“The Egyptians generally chose red pottery to smash, the colour of Seth, god of chaos, and also the colour of blood, but the use of red ink would suffice, usually scrawled in cursive hieratic text. Let me give you the flavour of threat formulae:

“I overthrow all enemies from all their seats in every place where they areevery land, every ruler, every servant, every woman, every man, every child, every animal… all will be destroyed forever. They will not exist, nor will their bodies. They will not exist, nor will their souls. They will not exist, nor will their flesh. They will not exist, nor will their bones… they will not exist and the place where they are will not exist.

He developed the theme: “There’s plenty of evidence of inscriptional violence. A group of smashed clay pots from the nineteenth century BCE and humanoid clay figurines from the eighteenth century BCE, excavated at Saqqara and Luxor, bear names, among others, of Rusalimum, or Jerusalem, obviously an enemy already. The Egyptians would also create models of Apophis, the archfiend of Outer Darkness, a great serpent that symbolized evil and destruction and that threatened to swallow the sun god Ra each night in the Underworld. Through recitations they would identify an enemy country with the archfiend and then destroy the image, stabbing it with knives, spitting upon it and then burning it.

“Another form of metaphysical coercion was the Egyptians’ fondness for showing scenes of bound foreign captives. Indeed pharaoh’s sandals bore images of wretched enemies so that he could trample on them as he walked. Footstools, paving stones and the handles of walking sticks used the images of bound captives.

“This practice lasted throughout Egypt’s long history. A Greek text tells us that the last native pharaoh of Egypt, Nectanebo II, used his legendary powers of ritual smiting to destroy formidable enemies, including the Persians, and drive them from his country’s borders, and by so doing, maintained his kingdom for a considerable period of time against their onslaughts. When an enemy invaded by sea, he retired to a certain chamber, and, employing a bowl, which he kept for the purpose, he filled it with water. Then he made wax figures of ships and men of the enemy and also of his own forces. He set these upon the water in the bowl, his fleet on one side, and that of the enemy on the other.

“Then, uttering words of power, he raised his ebony rod and invoked demons and the gods to support his attack on the enemy ships and to bring up the winds. His fleet fell on the enemy and as the ships and men of the hostile fleet sank to the bottom of the bowl, so did the real invaders. Every sailor, every soldier and every ship sank beneath the waves. Familiar?

“A more chilling example. I have a theory about what happened to the Lost Army of Cambyses. According to historical accounts, the Persian King Cambyses II dispatched an army of 50,000 men to destroy the sacred oracle of Amun in the oasis of Siwa, which had been making unwelcome predictions about him. Fifth century BCE Greek historian Herodotus tells us that the army left Thebes and set out into the desert, after seven days reaching an inhabited oasis, probably Kharga. Imagine it. A mighty army on the move, their spears glinting, their chariots rolling, their baggage trains of pack animals stretching out to the horizon. Now switch the scene to the inside of a dim, lamplit temple within the Egyptian oasis of Siwa.

“Chanting, shaven-headed Egyptian priests write hieroglyphs on the side of a clay jar. Then the high priest lifts the jar and holds it high over his head, utters the words of a great execration formula, and smashes the jar to the stone floor. The jar flies into a thousand pieces. Now see these thousands of pieces transform into millions of swirling grains of sand as a great and violent south wind arises in the desert to create a cataclysmic sandstorm.

“Back to the army of Cambyses. They march on into the Great Sand Sea towards Siwa, but they march into disaster, and into legend. Sand swarms over the advancing army and blankets them. As Greek historian Herodotus tells us, a wind arose ‘strong and deadly, bringing with it vast columns of whirling sand, which entirely covered up the troops and caused them wholly to disappear.’ It swallows the entire army, stopping the mouths of every soldier, every servant, every horse and every pack animal with choking sand… they become the lost army of Cambyses. Bad luck? Or a familiar pattern again? Could Egypt’s powers of smiting and execration have had something to do with the Lost Army of Cambyses?”

He could see them thinking about it. Maybe they were taken with the filmic qualities of the disaster. He let it sink in.

“Sometimes the officiants would list Egypt’s potential enemies in detail by name - Nubians, Libyans, Asiatics, Hittites and so on, or they’d designate enemies ‘in the East, the West, the North and the South’. Often they would refer to the mysterious ‘Nine Bows’, a symbolic plurality meaning three-times-three, that stands for all enemies, in all places. For example: ‘He binds the heads of the Nine Bows... He has gathered them all into his fist, his mace crashes upon their heads.’ I suppose you could call it Egypt’s early homeland protection system, if a touch aggressive, and, as I’m saying this, I’m suddenly having just an inkling as to why I’m the surprise – and surprised – guest speaker here today…”

A voice from the audience cut in.

“You really believe someone could put a remote hex on another country? On America? Why bother when we have the current administration?”

A few guffaws.

A heckler already. Anson peered. A man in the front row with military bearing and bulking up a blue suit, turned to throw a glare at the heckler.

In spite of the academic venue, this may not be a polite audience, Anson thought.

Anson hadn’t mentioned putting hexes on America and America wasn’t even on his mind. But it was on theirs, the heckler’s in particular.

Discover more chilling dangers today from the ancient past in THE SMITING TEXTS (Amazon Kindle)

Wednesday, September 21, 2016

What ancient Egypt means to fiction readers...

THE IBIS APOCALYPSE Book poster - Egypt action adventure

WARNING: Open this book and you will possess the powers of the earth, the sky and the gods themselves (Book of Thoth)

Amazon Kindle and Paperback

Tuesday, September 20, 2016

Sunday, September 11, 2016

Ancient Egyptian False Door - a magical interface

False door of Ptashepses, British Museum

Friday, September 9, 2016

An Egyptologist/curator Jennefer and an antiquities detective Jon are in "sister professions"...

On Amazon (and other good e-book stores everywhere).

THE HATHOR HOLOCAUST - Egypt archaeology adventure thriller (follow up to The Smiting Texts)

Kinde edition

THE HATHOR HOLOCAUST. (An Anson Hunter novel)

Can a rogue Egyptologist stop an ancient Egyptian apocalypse of plague and global scorching? (Available in Amazon Kindle edition and paperback.) An apocalyptic danger has arisen from the ancient past in Egypt today bringing a threat to the Middle East and also to the West - of plague, pestilence, fiery destruction and global scorching. Anson Hunter, controversial, alternative Egyptologist, theorist, blogger and phenomenologist is the hero of this historical adventure novel with a rich mythological vein. Followed by Western Intelligence organizations, shadowed by a mysterious androgyne assassin, he must race to avert a crisis in a quest spanning USA, Britain and Egypt. Who is behind the plan to trigger an apocalypse? Neo-religionists, Torchbearers with a dangerous New Age agenda, Christian dispensationalists who are eager to bring on the 'end times' or radical Islamists with a hatred of the West? In mythology, Ra Egypt's sun god, hurled an execration upon a rebellious humankind and, in a hot rage, despatched the scorching Eye of Ra, a holocaust sun in the form of the goddess Sekhmet, to destroy them. A marauding lioness, her breath spread pestilence and plague and her claws and teeth death as she swept through Egypt in an orgy of killing. Then Ra had second thoughts and halted her apocalypse. But the execration had been uttered and it was always feared that the inherently unstable agent of destruction - the Female Soul With Two Faces - would one day return to finish off what she had started, cleansing the earth.

Thursday, September 8, 2016

VIRTUAL EGYPT Their journey through 'Virtual Egypt' turned deadly real...


‘VIRTUAL EGYPT’ – A journey through ancient Egypt’s underworld - shocking reality, or deadly Virtual Reality?

Eight very different people are chosen to road test ‘VIRTUAL EGYPT’, an ancient Egyptian virtual reality simulator housed in a complex on the estate of tech billionaire Brandon Drake, a lifelong lover of Egypt’s past.

Then, shockingly, a journeyer dies... really dies...

They are in a race against time and a struggle against the guardians and monsters of the underworld as well as against each other.

Enthralling action adventure fiction that hits the ground running.

"OPEN THIS BOOK and you will possess the powers of earth, sky, and the gods themselves..." Fiction, 'The Ibis Apocalypse'

Amazon Paperback and Kindle

Third in the series of Egyptology adventure mystery thrillers after 'The Smiting Texts' and 'The Hathor Holocaust'...

WARNING: “Open this book and you will possess the powers of the earth, sky and the gods themselves...”

The Book of Thoth, Egypt’s god of magic, is the most dangerous source of esoteric texts ever written.

Anson Hunter, controversial alternative Egyptologist and theorist, is obsessed with locating it before the wrong people get hold of it.

The texts bring frightening power but also a terrible backlash. Twice in history the contents have come to light – the first time in the reign of Rameses the Great, linked with the Plagues of Egypt and the suffering of the Hebrews, and in 1939 when a German Egyptologist took rubbings of the stone texts to Hitler’s Germany before the horrors of World War II.

Israeli Intelligence and its allies in the USA become alarmed when the Destiny Stela threatens to break into history once again. As they are all too aware, the Stela of Destiny is the Holy Grail for organisations and conspirators with dangerous political and religious agendas, both in the USA and in Europe.

Anson embarks on an investigation, pursued by enemies and shadowed by striking Israeli Mossad agent Zara Margolin and suspicious Egyptian authorities, in a hunt that covers USA, UK and secret archaeological sites in Egypt.

‘The Ibis Apocalypse’ is a danger-fraught adventure that unfolds against the background of ancient Egypt’s enthralling legend and mythology.

Monday, September 5, 2016

An Egypt fiction TRILOGY or a SERIES?

Mythology-based Egypt mystery thriller trilogy

The Anson Hunter archaeology-based Egypt thriller series

Thursday, September 1, 2016

An archaeologist and a detective are in "kindred professions" - investigating mythology-linked murders

Meet them at Amazon - in this mysterious trilogy

THE TEAM: A unique combination of talents who work in 'kindred  professions'  - a detective and an archaeologist.

Jennefer is a bright young curator of Egyptian antiquities at the British Museum. 

Jon is an antiquities detective with the Metropolitan Arts and Antiques Unit.

He thinks she's too logical and "likes to arrange all the facts, carefully labelled, like a museum display."

She thinks: "he has the annoying habit of leaping to the impossible solution first, just to get it out of the way." 

Together they investigate cases of mysterious artefacts and mythology-linked murders that require their combined skills to solve.


Penetrating mystery and conspiracy beneath Egypt's sands

EGYPT EYES - “Be my eyes in Egypt,” she said. The celebrated young Egyptologist and space archaeologist Dr Constance Somers had once explored ancient Egypt’s lost treasures using satellite imagery. 
But now she is legally blind. 
She hires controversial, alternative Egyptologist Anson Hunter to be her guide on a Nile cruise. 
‘Show me the hidden Egypt of your imagination,’ she says. But does she have a darker purpose, planning to use his unique skills to help her penetrate a secret and dangerous site that she found?
And why are agents of the US National Reconnaissance Office, a secret Intelligence agency in charge of satellites and overhead security, suddenly taking an interest in the work of the space archaeologist? Has she made a discovery in her satellite archaeology that has global security ramifications? Anson must face unexpected enemies at every turn and use his skills to survive the dangers of a lost underground sanctuary as he tries to unlock its shattering secret. 
A groundbreaking adventure and mystery fiction with an Egyptologist’s blogs and photos.