Fans pick 100 books like Principles of Egyptian Art

It took me a while to figure out the backbone running through my intellectual interests, but I’ve always been interested in languages. I had the privilege of studying Japanese in Tokyo, near the peak of the Japanese economic “miracle.” That led to a PhD in Japanese drama (focusing on noh). Once I got tenure, I had the opportunity to add ancient Egypt to my professional profile. I learned hieroglyphs, studied Egyptian religion and art, and while continuing to work on noh drama, I (finally) figured out that what interests me is the way people express, or construct, their identities in literature and art.

It took me a while to figure out the backbone running through my intellectual interests, but I’ve always been interested in languages. I had the privilege of studying Japanese in Tokyo, near the peak of the Japanese economic “miracle.” That led to a PhD in Japanese drama (focusing on noh). Once I got tenure, I had the opportunity to add ancient Egypt to my professional profile. I learned hieroglyphs, studied Egyptian religion and art, and while continuing to work on noh drama, I (finally) figured out that what interests me is the way people express, or construct, their identities in literature and art.

It took me a while to figure out the backbone running through my intellectual interests, but I’ve always been interested in languages. I had the privilege of studying Japanese in Tokyo, near the peak of the Japanese economic “miracle.” That led to a PhD in Japanese drama (focusing on noh). Once I got tenure, I had the opportunity to add ancient Egypt to my professional profile. I learned hieroglyphs, studied Egyptian religion and art, and while continuing to work on noh drama, I (finally) figured out that what interests me is the way people express, or construct, their identities in literature and art.

It took me a while to figure out the backbone running through my intellectual interests, but I’ve always been interested in languages. I had the privilege of studying Japanese in Tokyo, near the peak of the Japanese economic “miracle.” That led to a PhD in Japanese drama (focusing on noh). Once I got tenure, I had the opportunity to add ancient Egypt to my professional profile. I learned hieroglyphs, studied Egyptian religion and art, and while continuing to work on noh drama, I (finally) figured out that what interests me is the way people express, or construct, their identities in literature and art.

I’m a journalist, critic, and poet who has spent a career engaging with the world. I love telling stories, and I strive to put beauty and tension into everything I write. I’ve had great editors – they’ve published my work in The Guardian, National Geographic, ARTnews, The Washington Post, The Times Literary Supplement, and Archaeology, where I am a contributing editor, and many other places – but it always comes down to me and my computer. And often a plane ticket and a suitcase. 

I have been fascinated by ancient Egypt since I was a child and dressed up to play as ancient Egyptian with her friends. I studied fine art in college, and was trained in archaeological illustration at the Metropolitan Museum of Art where I worked as a staff illustrator in the Department of Egyptian Art. I later worked in the Department of Egyptian Art at the Brooklyn Museum of Art. I have worked as the technical illustrator for a dozen archaeological digs in Egypt, Turkey, Spain, Belize, and California. 

I became interested in the art and written language of ancient Egypt due to its beauty and antiquity. Writing is art and art often contains text in this oldest written African language. I am fascinated with the process of religious change, intercultural interaction, and resistance to colonization. All of these themes are present in the study of the last functioning Egyptian temple, Philae, which is dedicated to the worship of Isis. What is often omitted from the history of this exceptional Egyptian temple is the fact that it was Nubians who defended and sustained the traditional religious practices long after most Egyptians had converted to Christianity. I wrote my book to research and share this neglected history.

Having first discovered the mystery of ancient Egypt as a small child via my father’s war-time souvenirs, this interest grew over the years until it became a serious magical under-taking, culminating in Initiation into the magical order of the Temple of Khem. I became Principal tutor of the Order in 1998 and published Liber Ægyptius: The Book of Egyptian Magic in the same year. I continue to teach the Egyptian Mystery Tradition to those willing to submit themselves to the exacting discipline needed to enter the priesthood, and remain a member of the Egypt Exploration Society to keep up-to-date with the current archaeological discoveries in Egypt.

I am, first and foremost, a lover of cats and dogs. I have been fascinated by these animals ever since I was a child. Where did they come from? Why are we so strongly bonded to them? What is the future of our relationship? These are questions I have asked myself for decades, and which I finally answer in Citizen Canine: Our Evolving Relationship with Cats and Dogs. I bring to this book not only my lifelong love of these animals, but a deep-thinker’s exploration of history, law, and science. 

I’m a spiritual mutt. Raised with a variegated Christian background (Mom Charismatic, Dad Quaker, Grandparents Wesleyan), I rejected all things biblical and turned to Jack Daniels for Southern Comfort. In college I reconnected with a high school friend who demonstrated God was real by his changed life and showed the Bible’s concrete historical connections in a way I could understand. The words that had so confounded me as a child began to make sense. I dumped Jack Daniels, married that friend, and no longer needed Southern Comfort. Now, through research, study, and a little imagination, I write biblical novels, chug Living Water, and tell Bible stories to eight grandkids.