The Murder of Tutankhamen:
A True Story
Bob Brier, Ph.D.
Putnam
264 pp.
$24.95
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Bob Brier's central thesis--that Tutankhamen was dealt a fierce
blow to the head and died after languishing for months--is certainly
one hell of a hook. And it's a cunning move to open, as he does,
on a fictional account of how it might have happened--complete
with the pharaoh sleeping alone and unwitting while a dark, powerful
intruder creeps silently into his room. In a relatively brief
span and with the aid of standard mystery devices, Brier manages
to bring the pharaoh to life in a familiar, easily visualized
setting. Sure, it's a history book. But the first chapter reads
more like a whodunit.
But the enduring virtue behind Brier's thesis is his proof.
First, of course, are the historical facts: just before the reign
of Tutankhamen, the triumvirate (pharaoh, national military and
priests) that had ruled Egypt for nearly two thousand years underwent
radical power shifts. In what became the world's first recorded
religious revolution, Tutankhamen's father, Akhenaten, had declared
all gods but a single sun god (the Aten) to be false, and he
moved from Thebes to a new 'holy city,' much to the consternation
of the priests, who until then had lived quite well on royal
donations. (Brier likens Akhenaten and his followers to the counterculture
of the 1960s.) It was also the first time the pharaoh did not
lead his army against his enemies, and a schism developed between
the pharaoh and the military. But Tutankhamen moved the capital
back to Thebes and renounced his father's religion after Akhenaten's
death, and Egypt experienced a strong economic and military rejuvenation.
Despite his success, Tutankhamen was murdered. But who did it
and why? Harkening back to the mystery genre, Brier brings the
suspects together in his final chapter and reveals the one he
thinks murdered Tutankhamen--but of course, a review is duty-bound
to pass over such revelations in silence.
On the physical side, Brier doesn't have the sort of conclusive
forensic evidence you might expect, since Tutankhamen's body
was returned to its tomb shortly after its discovery. What we
have today are chiefly the data collected by scientists at the
disinterment and subsequent autopsy (this includes photographs
of the mummified body and photographs of the contents of the
organ jars) plus X-rays taken of the mummy in 1969 and 1978 (the
X-rays have never been released in a scientific publication).
While the photographs seem to indicate Brier may be right, for
definitive proof, scientists would need to study Tutankhamen's
body itself, along with the internal organs removed during the
mummification process. As Brier points out, if Tutankhamen did
indeed die in a coma, his intestines and stomach should be empty.
And a significant hematoma caused by a blow from Brier's night
intruder should leave a buildup of blood matter and elemental
iron on the skull.
A grim thought, but provocative, nonetheless.
Rest assured--you won't find yourself knee-deep in Egyptian
Dynasty charts in this book. It's a whoppingly seductive effort,
aimed at a popular audience. If you want a nice, guiltless escape
from daily demands, read it, by all means.
--Doug Childers
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Cheaters
Eric Jerome Dickey
Dutton
$24.95
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An interview about Seinfeld's popularity once prompted
Julia Louis-Dreyfus to remark, "I don't know why it's so
popular. All the characters are so mean." That's sort of
the reaction I had toward Eric Jerome Dickey's Cheaters.
Yes, the characters are mean. Vindictive. Self-centered. Self-destructive.
They're also very funny and, in their own way, loving.
Cheaters is a fast-paced ride through the dream-filled
buppie world that surrounds LA--itself a city of dreams. Stephan,
who works with computer systems and feels that a woman isn't
complete until she's had sex with him. Darnell, the married lawyer
who dreams of being a novelist and who lusts after Tammy. Chanté,
an upwardly mobile accountant who's the best in the board room
but who destroys every relationship she's in.
Dickey is a master of characterization. Even his minor characters
are realistically fleshed out and lovingly drawn. Even the nasty
ones.
Especially the nasty ones.
Dickey also has a rare facility with language--both with dialogue
(he is a master of rhythms and the sounds of real speech) and
with descriptive passages.
Cheaters could easily have become a giant cliche, an
Ice Cube movie translated to hardcover. Instead, in Dickey's
hands, it is a funny, touching and ultimately enjoyable look
at a group of lost souls searching for love, meaning and redemption
among a city of strangers.
--John Porter
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Hope
Glen Duncan
Riverhead Books
322 pp.
$13
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Gabriel Jones, the hero (if that's the right word) of Glen
Duncan's Hope, is a man's who's reached such a low point
in his life that he has to rely on abject lust and obsessive
memories to stay alive. It's a dangerous strategy, he admits:
"Passion with nowhere to go is life on the brink of neurosis."
And Jones, it seems, is tumbling over the abyss. To keep himself
going, he obsessively reviews a failed relationship with a college
girlfriend named Alicia and his present preoccupation with a
prostitute named Hope.
What Jones wants--really wants--is a passion coupled
with love for a good person. He is not, in his own estimate,
a good person, but he's convinced that loving a good person
gives him goodness. And the corollary is true as well: sex without
love only worsens his own nature. It's a hell of a dilemma, and
it's unlikely to be resolved through an affair with a talented
but loveless prostitute--whether her name's Hope or Despair.
Of course, he experienced that perfect combination of love
and lust with Alicia...but then she found out how lacking he
truly was in goodness. Hence Hope and the abyss. At heart, though,
it's Jones's failure to come to terms with his own self--to define
love and hope within--that does him in (or will, if he doesn't
figure it out in time).
Hope is a grim but intoxicating book: honest but not
blunt, soul-bearing rather than brutal, it touches one deeply
with its pathos. That it is Duncan's first novel--and that he
is only twenty-nine--is astonishing.
--Charlie Onion
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Why the Tree
Loves the Ax
Jim Lewis
Berkley Books
276 pp.
$12.95
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Look out, Thelma and Louise: Caroline Harrison's going to
give you a run for your money.
In Jim Lewis's sordid tale of a drifter's life gone from bad
to worse, Caroline winces her way from one bad decision to the
next, following her mistakes like a trail of stale breadcrumbs
to the witch's house in the woods.
Lies, seductions, crimes small or large: nothing is planned,
so anything is possible in Caroline's life on the road. She travels
from New York to Sugartown, Texas, and back again to New York,
looking for signs that won't appear on a highway. She is an ego
in search of a self; a pilgrim in search of a soul. Or perhaps
she's a hungry ghost: her appetite for her missing personality
consumes her.
Why the Tree Loves the Ax is a haunting book that reveals
its secrets slowly. And Lewis has matched his subject perfectly
to his prose style. Like Caroline, it is beautifully delicious,
yet mysterious and foreboding. And just as Caroline is netted
by her fate, the reader is likewise drawn in, and the oven door
slams shut.
--Daphne Frostchild
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God
Is A Bullet
Boston Teran
Alfred A. Knopf
305 pp.
$24.00
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Boston Teran's first novel, God Is A Bullet, opens
with a crime guaranteed to make you cringe.
One night in a sleepy California postcard town, a woman is
killed, her husband is tortured and killed, and a young girl
is kidnapped. Initially, it appears to be a random act of violence
by a drug-crazed, Manson-like cult. Appearances, though, are
nothing if not deceiving: the killers are indeed cultists, but
the act is far from random.
Left to make sense of the whole affair is the girl's biological
father, a desk jockey at the neighborhood cop shop. He tracks
down every lead, which eventually brings him face to face with
a young junky trying to quit both heroin and the cult life she
has been leading. The cop is too whitebread to pass in this underworld,
so it's up to this drying-up Virgil to act as a guide on this
tour of hell. Soon, this less than dynamic duo is in pursuit
of Cyrus, the leader of the Left Handed Path, a group that picks
up garbage kids off the street, gets them hooked on drugs and
turns them into killing machines.
Teran shows a great deal of promise with this debut. His dialogue
crackles with intensity, and his plot carries the reader along
at a rapid pace. The only drawback is his occasional tendency
to get a little preachy.
There has been a bit of hubbub about this book's publication.
The cult dealings are graphic and violent, and some thought it
might be a little rough for mass consumption. But consider: the
book deals with a kidnapping and drug deals, occurrences not
often noted for their civility and decorum. Teran has simply
created a world that is every bit as frightening as today's headlines.
Fans who like a little hard-core with their hard-boiled will
not be disappointed.
--John Porter
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The St. James
Women Filmmakers Encyclopedia:
Women on the Other Side of the Camera
Edited by
Amy L. Unterburger
Visible Ink Press
568 pp.
$29.95
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As the subtitle suggests, this encyclopedia focuses on the
women who have had a role in producing films, rather than merely
appearing in them. Thus, it includes information on more than
two hundred female directors, producers, cinemaphotographers,
art directors, editors, screenwriters, costume designers and
animators.
Some of the entries are obvious: Leni Riefenstahl, Edith Head
and Lillian Gish from the past, Diane Keaton, Jodie Foster and
Thelma Schoonmacher from the present. But the book's editor,
Amy L. Unterburger, manages to find enough obscure American names
and significant foreign filmmakers largely unknown in the United
States to let the casual reader wander happily through large
spans of unknown--and revealing--areas.
For each of the subjects, Unterburger offers a filmography,
biography and an appreciative essay. The book also has a chronology
of film history and a well-written, informative foreword by Gwendolyn
Audrey Foster.
This is, in short, a wonderfully complete book whose subject
has been woefully neglected by film historians.
--Daphne Frostchild
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The
Trials
of Tiffany Trott
Isabel Wolff
Onyx Fiction
404 pp.
$6.99
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Tiffany Trott is a successful thirty-seven-year-old advertising
copywriter with only two problems: she needs a man, and everybody
knows it. Her mother worries endlessly (and quite vocally) about
Tiffany and the prospects for grandchildren; her friends set
her up with invariably disappointing suitors; and the men she
manages to snare simply leave the moment she brings up
that dreaded word, 'marriage.' Her trolling the personal ads
and visiting a Club Med don't yield much worth bringing home
to meet Mum either. And all the while, of course, everyone keeps
asking what that tick-tick-ticking is. Why, it's Tiffany's biological
clock, of course!
So what is Tiffany to do?
Keep trying, naturally. This is a comic novel, after all,
and all comedies end in marriage, right?
Right?
Before Tiffany trotted across the big pond, she was first
the subject of a newspaper column and then a bestselling book
in the British market. Now, she's arrived just in time for the
American beachgoer's vacation. It's brilliant timing, really:
The Trials of Tiffany Trott should play well among the
beachgoing Anglophile circles. While it has more than its fair
share of sophisticated Britishisms, it also has that effortlessly
slick, fast quality we all look for in a good beach book. More
clever than hilarious, it should get quite a few readers nodding
in agreement as the waves roll in and yet another covey of young
innocents dash by, laughing youthfully.
--Daphne Frostchild
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