Red Land Black Land

A fascinating, erudite, and witty glimpse of the human side of ancient Egypt—this acclaimed classic work is now revised and updated for a new generation Displaying the unparalleled descriptive power, unerring eye for fascinating detail, keen insight, and trenchant wit that have made the novels she writes (as Elizabeth Peters and Barbara Michaels) perennial New York Times bestsellers, internationally renowned Egyptologist Barbara Mertz brings a long-buried civilization to vivid life. In Red Land, Black Land, she transports us back thousands of years and immerses us in the sights, aromas, and sounds of day-to-day living in the legendary desert realm that was ancient Egypt. Who were these people whose civilization has inspired myriad films, books, artwork, myths, and dreams, and who built astonishing monuments that still stagger the imagination five thousand years later? What did average Egyptians eat, drink, wear, gossip about, and aspire to? What were their amusements, their beliefs, their attitudes concerning religion, childrearing, nudity, premarital sex? Mertz ushers us into their homes, workplaces, temples, and palaces to give us an intimate view of the everyday worlds of the royal and commoner alike. We observe priests and painters, scribes and pyramid builders, slaves, housewives, and queens—and receive fascinating tips on how to perform tasks essential to ancient Egyptian living, from mummification to making papyrus. An eye-opening and endlessly entertaining companion volume to Temples, Tombs, and Hieroglyphs, Mertz's extraordinary history of ancient Egypt, Red Land, Black Land offers readers a brilliant display of rich description and fascinating edification. It brings us closer than ever before to the people of a great lost culture that was so different from—yet so surprisingly similar to—our own.

This text explains the cultural and historical background to the fascinating and complex world of Egyptian myth, with each chapter dealing with a particular theme.

The amazing, dramatic, and painful autobiographical story of Ange Zhang as he came of age during the Cultural Revolution in China. When Mao’s Cultural Revolution took hold in China in June 1966, Ange Zhang was thirteen years old. His father was a famous writer. Shortly after the revolution began, many of Ange’s classmates joined the Red Guard, Mao’s youth movement, and they drove their teachers out of the classrooms. But in the weeks that followed, Ange discovered that his father’s fame as a writer now meant that he was a target of the new regime. When his father was arrested, he began to question everything that was happening in his country. Finally, Ange was forced to join many other young urban Chinese students in the countryside for re-education where he found the emotional space to develop his own artistic talent and to find that he, like his father, was an artist — except that Ange’s talent lay in painting and drawing. This dramatic, painful autobiographical story is complemented by photographs, many drawn from Ange’s personal collection, as well as a non-fiction section that explains the historical period and is also illustrated with archival images. Key Text Features author’s note glossary Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RI.6.7 Integrate information presented in different media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.

Eighteenth Dynasty Egypt is peaceful and prosperous under the dual rule of the Pharaohs Amenhotep III and IV, until the younger Pharaoh begins to dream new and terrifying dreams. Ptah-hotep, a young peasant boy studying to be a scribe, wants to live a simple life in a Nile hut with his lover Kheperren and their dog Wolf. But Amenhotep IV appoints him as Great Royal Scribe. Surrounded by bitterly envious rivals and enemies, how long will Ptah-hotep survive? The child-princess Mutnodjme sees her beautiful sister Nefertiti married off to the impotent young Amenhotep. But Nefertiti must bear royal children, so the ladies of the court devise a shocking plan. Kheperren, meanwhile, serves as scribe to the daring teenage General Horemheb. But while the Pharaoh's shrinking army guards the Land of the Nile from enemies on every border, a far greater menace impends. For, not content with his own devotion to one god alone, the newly-renamed Akhnaten plans to suppress the worship of all other gods in the Black Land. His horrified court soon realise that the Pharaoh is not merely deformed, but irretrievably mad; and that the biggest danger to the Empire is in the royal palace itself.

Proud of Their Heritage and Sustained by Their Faith, They Came to Tame a New Land She had promised herself that once they left the fjords of Norway, she would not look back. After three long years of scrimping and saving to buy tickets for their passage to America, Roald and Ingeborg Bjorklund, along with their son, Thorliff, finally arrive at the docks of New York City. It was the promise of free land that fed their dream and lured them from their beloved home high above the fjords of Norway in 1880. Together with Roald's brother Carl and his family, they will build a good life in a new land that promises untold wealth and vast farmsteads for their children. As they join the throngs of countless immigrants passing through Castle Garden, they soon discover that nothing is as they had envisioned it. Appalled by the horrid stories of fellow immigrants bilked of all their money and forced to live in squalid living conditions, the Bjorklunds continue their long journey by train as far as Grand Forks. From there a covered wagon takes them into Dakota Territory, where they settle on the banks of the Red River. But there was no way for them to foresee the price they will have to pay to wrest a living from the indomitable land. The virgin prairie refuses to yield its treasure without a struggle. Will they be strong enough to overcome the hardships of that first winter?

The first book to explore how African American writing and art engaged with visions of Ethiopia during the late nineteenth and early twentieth centuries As the only African nation, with the exception of Liberia, to remain independent during the colonization of the continent, Ethiopia has long held significance for and captivated the imaginations of African Americans. In Black Land, Nadia Nurhussein delves into nineteenth- and twentieth-century African American artistic and journalistic depictions of Ethiopia, illuminating the increasing tensions and ironies behind cultural celebrations of an African country asserting itself as an imperial power. Nurhussein navigates texts by Walt Whitman, Paul Laurence Dunbar, Pauline Hopkins, Harry Dean, Langston Hughes, Claude McKay, George Schuyler, and others, alongside images and performances that show the intersection of African America with Ethiopia during historic political shifts. From a description of a notorious 1920 Star Order of Ethiopia flag-burning demonstration in Chicago to a discussion of the Ethiopian emperor Haile Selassie as Time magazine’s Man of the Year for 1935, Nurhussein illuminates the growing complications that modern Ethiopia posed for American writers and activists. American media coverage of the African nation exposed a clear contrast between the Pan-African ideal and the modern reality of Ethiopia as an antidemocratic imperialist state: Did Ethiopia represent the black nation of the future, or one of an inert and static past? Revising current understandings of black transnationalism, Black Land presents a well-rounded exploration of an era when Ethiopia’s presence in African American culture was at its height.

Deserts, the Red Land, bracket the narrow strip of alluvial Black Land that borders the Nile. Networks of desert roads ascended to the high desert from the Nile Valley, providing access to the mineral wealth and Red Sea ports of the Eastern Desert, the oasis depressions and trade networks of the Western Desert. A historical perspective from the Predynastic through the Roman Periods highlights how developments in the Nile Valley altered the Egyptian administration and exploitation of the deserts. For the ancient Egyptians, the deserts were a living landscape, and at numerous points along the desert roads, the ancient Egyptians employed rock art and rock inscriptions to create and mark places. Such sites provide considerable evidence for the origin of writing in northeast Africa, the religious significance of the desert and expressions of personal piety, and the development of the early alphabet.

Egypt Land is the first comprehensive analysis of the connections between constructions of race and representations of ancient Egypt in nineteenth-century America. Scott Trafton argues that the American mania for Egypt was directly related to anxieties over race and race-based slavery. He shows how the fascination with ancient Egypt among both black and white Americans was manifest in a range of often contradictory ways. Both groups likened the power of the United States to that of the ancient Egyptian empire, yet both also identified with ancient Egypt’s victims. As the land which represented the origins of races and nations, the power and folly of empires, despots holding people in bondage, and the exodus of the saved from the land of slavery, ancient Egypt was a uniquely useful trope for representing America’s own conflicts and anxious aspirations. Drawing on literary and cultural studies, art and architectural history, political history, religious history, and the histories of archaeology and ethnology, Trafton illuminates anxieties related to race in different manifestations of nineteenth-century American Egyptomania, including the development of American Egyptology, the rise of racialized science, the narrative and literary tradition of the imperialist adventure tale, the cultural politics of the architectural Egyptian Revival, and the dynamics of African American Ethiopianism. He demonstrates how debates over what the United States was and what it could become returned again and again to ancient Egypt. From visions of Cleopatra to the tales of Edgar Allan Poe, from the works of Pauline Hopkins to the construction of the Washington Monument, from the measuring of slaves’ skulls to the singing of slave spirituals—claims about and representations of ancient Egypt served as linchpins for discussions about nineteenth-century American racial and national identity.

When American resort tycoon Martin Walker travels to England in hopes of acquiring a lonely island off the northeastern coast, he brings his family along for the trip. Only then does he learn the island's long-abandoned keep carries with it a legacy of terror. Some say the ghosts of Viking raiders, clad in wolf-skins and drunk on slaughter, still haunt its twisted architecture. Some say the island itself is cursed. An ancient, hateful force slumbers within the windswept rock-and the Walker family has awakened it. Can anyone escape THE BLACK LAND? MJ Wesolowski, based in Newcastle-Upon-Tyne, UK, has had short stories published in places such as Ethereal Tales and the Midnight Movie Creature Feature anthology. His dark comedy production, Suckers, raised money for the SOPHIE fund (Stamp Out Prejudice, Hatred and Intolerance Everywhere). THE BLACK LAND is his debut novella.

This is a work of fiction that straddles continents, and spans decades and diverse cultures. The characters present the real world of the day in a very believable manner.