Wafaa El-Saddik was the first female director of the Egyptian Museum in Cairo and held the post from 2004 until the end of 2010. During her final year at the museum, a popular uprising in Tunis caught the world by surprise, but El-Saddik had a premonition that similar events would also take place in Egypt. “We knew that the social gap could not continue to widen forever. It was only a question of time before something had to happen,” she writes in her book, “Protecting Pharaoh’s Treasures.”
In January of 2011, Egyptians from all walks of life expressed their long-oppressed feelings of anger. The first cracks in 30 years of dictatorship began to appear. It was a movement that prompted El-Saddik to write the book.
“The people who have worked toward a different Egypt for so long — decent, hardworking people of integrity — finally have to be given a chance. There have been, and still are, such people in Egypt, even among us Egyptologists in the antiquities service. They have distinct notions about a different Egypt. It was high time to open the drawer and lay on the table all the things that had had to wait too long.”
Her last meeting with former strongman Hosni Mubarak in October 2010 in Rome reveals what went on behind the scenes. Only five weeks before the Egyptian president’s state visit to Italy, El-Saddik was summoned to select ancient Egyptian artifacts for the exhibition in Rome. Deemed not spectacular enough, her selection was not approved. Zahi Hawass, who was chief of the antiquities office at the time, was now in charge of putting together a selection but he announced that a conflict of interest prevented him from attending the event. El-Saddik had to go to Rome after all and she was left to deal with a number of problems. The on-loan items were not insured, there was no exhibition catalogue and her co-workers had no visas. However, she remained positive, saying: “In my years as director of the Egyptian Museum I had learned one thing: If it has anything to do with the president, everything possible will be done, money is no object.”
After having worked “like dogs” to prepare the exhibition, El-Saddik was briefed that the visit should not take more than 15 minutes. Mubarak was tired and had problems standing up and Silvio Berlusconi was visibly not interested in the exhibition. When El-Saddik tried to draw their attention to the Egyptian Book of the Dead, she told both Berlusconi and Mubarak that “all those who have flouted the laws and offended those nearest to them are gobbled up by the devourer.” At that moment, she wrote, Mubarak smiled and photographs were taken. Who would have guessed then that by February, Mubarak would step down as president of Egypt?
The making of an archaeologist
When El-Saddik began university, she wanted to be a journalist. During a break, she went on an excursion to Luxor and Aswan organized by the faculty of archaeology. That trip changed her life as she decided to major in archaeology and was no longer interested in a journalistic career.
She quickly earned a reputation as somebody who stood up to figures of authority.
When President Anwar Sadat ordered that the upper part of the Khafre Pyramid be cleaned so it would become the same color as the pyramid’s lower part, she refused to follow the order. The chief inspector of the Giza precinct admonished her, saying: “Why haven’t you finished the job? How can you dare oppose a directive from the president?”
El-Saddik answered firmly: “How can you dare to order such nonsense?”
The inspector threatened to dismiss her so she filed a report explaining that the stones used for the construction of the lower and the upper part of the pyramid were from different quarries. The stones in the oldest part of the Khafre Pyramid came from the pyramid plateau, whereas the remaining stones were taken from the Tura limestone quarries. This clearly explains why the stones have different natural colors.
A few days later, the cleaning project was called off and this incident did not impact her career negatively. On the contrary, in 1976, El-Saddik became the first Egyptian woman to direct an excavation.
When El-Saddik was eventually appointed as the director of the Egyptian Museum in 2004, she wasted no time in doing an inventory of the objects piled up in the vast cellar of museum, which covers an area nearly the size of two football fields.
“The Egyptian Museum’s cellar is the stuff of legend…. For nearly 100 years it served as the central storeroom for all the artifacts awarded to Egypt in the division of finds,” she wrote.
To this day, Tutankhamen’s treasure remains Egypt’s most famous exhibition. After its worldwide tour between 1972 and 1982, a sculpture from the tomb’s treasure was damaged and the government issued a travel ban on the relics. That ban was lifted when Mubarak needed $500 million for his Grand Museum. El-Saddik curated the exhibition “Tutankhamen, the Golden Beyond” which toured the world and brought in around $100 million.
“Protecting Pharaoh’s Treasures” is a journey through El-Saddik’s life in Egyptology. As she looks back at the history of her country, we discover an amazing woman. She is truly in a league of her own.
Book Review: Dive into Egypt’s glorious past
Book Review: Dive into Egypt’s glorious past
What We Are Reading Today: ‘A Hunger Artist’
- Kafka’s exploration of the artist’s suffering is a metaphor for the broader human experience — where the search for authenticity and recognition often leads to despair and isolation
Author: Franz Kafka
“A Hunger Artist” is a novella by Franz Kafka, which was published in 1922.
The narrative follows a professional hunger artist whose act is to fast for extended periods, presenting his art as a spectacle for an audience.
Initially, his performances drew significant attention, and he became a celebrated figure, embodying the artist’s struggle against societal norms and expectations.
As the story progresses, the artist’s popularity wanes, and he becomes increasingly alienated.
The public’s fascination shifts to more modern forms of entertainment, and the hunger artist becomes a relic of a bygone era.
The hunger artist’s ultimate fate is tragic. Despite his dedication to his craft, he becomes a victim of societal indifference.
The book is a poignant 14-page short story that delves into themes of art, isolation, and the quest for meaning.
Kafka’s exploration of the artist’s suffering is a metaphor for the broader human experience — where the search for authenticity and recognition often leads to despair and isolation.
He masterfully captures the conflict between the artist’s inner world and external interpretations, demonstrating the need to understand and appreciate real creative expression.
The story culminates in the realization that true artistry is frequently unrecognized and undervalued.
In “A Hunger Artist,” Kafka crafts a powerful commentary on the complexities of identity, the ephemeral nature of fame, and the often lonely path of the artist, making it a compelling and thought-provoking work that resonates with anyone grappling with the meaning of creativity and existence.
His prose is spare yet evocative, employing a surreal tone that enhances the existential themes.
The story challenges readers to consider the nature of art, the role of the audience, and the sacrifices artists make for their craft.
Kafka is renowned for his surreal and existential narratives that still resonate with readers more than a century later. His best-known works include “The Metamorphosis,” “The Trial,” and “The Castle.”
What We Are Reading Today: Pandemic Politics
- Health is not an inherently polarizing issue, but the Trump administration’s partisan response to COVID-19 led ordinary citizens to prioritize what was good for their “team” rather than what was good for their country
Author: Shana Kushner Gadarian, Sara Wallace Goodman and Tomas B. Pepinsky
COVID-19 has killed more people than any war or public health crisis in American history, but the scale and grim human toll of the pandemic were not inevitable. Pandemic Politics examines how Donald Trump politicized COVID-19, shedding new light on how his administration tied the pandemic to the president’s political fate in an election year and chose partisanship over public health, with disastrous consequences for all of us.
Health is not an inherently polarizing issue, but the Trump administration’s partisan response to COVID-19 led ordinary citizens to prioritize what was good for their “team” rather than what was good for their country.
Democrats, in turn, viewed the crisis as evidence of Trump’s indifference to public well-being. At a time when solidarity and bipartisan unity were sorely needed, Americans came to see the pandemic in partisan terms, adopting behaviors and attitudes that continue to divide us today.
Trump victory renews interest in ‘The Handmaid’s Tale’ and other fictional dystopias
- Margaret Atwood’s dystopian classic about a country in which women are brutally repressed has been high on the Amazon.com best seller list
NEW YORK: “The Handmaid’s Tale” is selling again.
Since President-elect Donald Trump clinched his return to the White House, Margaret Atwood’s dystopian classic about a country in which women are brutally repressed has been high on the Amazon.com best seller list. “The Handmaid’s Tale” was popular throughout Trump’s first term, along with such dark futuristic narratives as George Orwell’s “1984” and Ray Bradbury’s “Fahrenheit 451,” both of which were in the Amazon top 40 as of Thursday afternoon. Another best-seller from Trump’s previous time in office, Timothy Snyder’s “On Tyranny: Twenty Lessons from the Twentieth Century,” was in the top 10.
Pro-Trump books also were selling well. Former first lady Melania Trump’s memoir, “Melania,” was No. 1 on the Amazon list, and Vice President-elect JD Vance’s “Hillbilly Elegy” was in the top 10. Donald Trump’s photo book “Save America” was in the top 30.
At Barnes & Noble, “Fiction and non-fiction books that feature fascism, feminism, dystopian worlds and both right-and-left leaning politics rocketed up our sales charts with the election results,” according to Shannon DeVito, the chain’s director of books. She cited “Melania,” “On Tyranny” and Bob Woodward’s latest, “War,” which covers the responses of Trump and President Joe Biden to the conflicts in Ukraine and the Middle East.
DeVito also cited “a massive bump in dystopian fiction,” notably for “The Handmaid’s Tale” and “1984.”
Book Review: ‘The Bird Tattoo’ by Dunya Mikhail
Reading Dunya Mikhail’s “The Bird Tattoo,” published in 2020, is embarking on a journey through the intricate layers of identity, loss and hope.
From the very first pages, readers will be drawn into the world of the unnamed protagonist, a journalist returning to her war-torn homeland of Iraq.
Mikhail’s writing envelops you, making you feel the weight of memories and the pulse of a country struggling to heal. One of the most striking aspects of the novel is its unflinching exploration of the painful subject of the sale of Yazidi women as slaves by Daesh.
Mikhail addresses this trauma with a delicate touch, balancing the harsh realities of this atrocity with an exploration of the astonishing world of Yazidi customs and legends.
This duality adds depth to the narrative, allowing readers to appreciate the richness of Yazidi culture even in the face of such unspeakable suffering. Mikhail tells these stories without exaggeration or sentimentality, which makes the emotional weight all the more impactful.
Many readers will find themselves reflecting on their own experiences with home and belonging. The tattoo of the bird, a symbol of freedom and escape, will resonate deeply with them.
It beautifully encapsulates the protagonist’s yearning for liberation from the constraints of her past and the chaos surrounding her.
Mikhail’s prose is both lyrical and haunting, painting vivid images of Baghdad that linger in the mind. Readers will hear the sounds of the city and feel the warmth of the sun, yet the underlying tension of conflict is always present.
This duality will strike a chord with them, as it mirrors the complexities of life — how beauty and pain often coexist.
The flashbacks woven throughout the story are particularly poignant. They allow readers to witness the protagonist’s childhood and the impact of war on her family relationships. They will feel her loss and her struggle to reconcile her past with her present.
One of the most powerful aspects of “The Bird Tattoo” is its exploration of resilience. Despite the heavy themes of loss and trauma, Mikhail instills a sense of hope throughout the narrative.
Readers will find themselves rooting for the characters, marveling at their strength and determination to find their place in a world that often feels unforgiving. This theme will inspire them.
The novel is not just a story about war; it is a profound meditation on identity, love, and the quest for freedom.
The fact that Mikhail, an Iraqi-American, went on to become the English translator of her own work, which is now available in several languages, speaks to her commitment to sharing these stories with the world.
This book left me with a deeper understanding of the complexities of human experience and the enduring spirit of those who face unimaginable challenges.
It has certainly stayed with me, encouraging me to think more deeply about my own journey and the stories that shape who we are.
What We Are Reading Today: ‘The Artist’s Palette’ by Alexandra Loske
What can the palette an artist used or depicted tell us about their artistic process, preferences, and finished works? From traditional wooden boards to paint pots, ceramic plates, and studio walls, these deceptively simple yet potent tools provide vital evidence. “The Artist’s Palette” presents 50 unique palettes alongside paintings by the celebrated artists who used them, gathering expert analysis of color, brushstroke, and technique to offer new histories of these artists and their work.
