Category Archives: Scenes from a Life

Scenes from a Life – soft cover now available

Scenes from a Life is now available in soft cover. At least, I have proof-checked the final version and clicked the button which says to distribute it. I gather it will take a short time for the various global sites to list it as ready-to-ship, but to all intents and purposes it is now out in the world!

Purchase links are:

Here is the cover image…

Scenes from a Life - soft cover 'look inside'

For the curious, the glyphs on the front read:

Makty-Rasut, true of voice
and his beloved Milashuniyet, true of voice.

This is taken from the closing part of the tomb inscription which Makty has prepared, which reads more fully:

O you who pass by this place, speak out a voice offering to the gods in bread and beer, papyrus and turquoise, and in everything good and pure for the life of Makty-Rasut, true of voice, and for his beloved Milashuniyet, true of voice.

Scenes from a Life – now released on kindle

Well, today is the day – Scenes from a Life is now uploaded to the kindle store. It is live on the Amazon.co.uk store at

http://www.amazon.co.uk/Scenes-Life-Richard-Abbott-ebook/dp/B00H8Y0F7E/

and Amazon.com at

http://www.amazon.com/Scenes-Life-Richard-Abbott-ebook/dp/B00H8Y0F7E/

and will go live internationally at the various other Amazon sites over the next 48 or so hours as soon as the distribution process does its stuff.

Scenes from a Life - kindle cover image

The softback version will be available soon, but the review process for CreateSpace is longer. More news as soon as possible… currently I am waiting for a printed copy to proof-read.

Meanwhile I have done some updates at the Kephrath site. The web page dedicated to Scenes from a Life is at
http://www.kephrath.com/ScenesFromALife.aspx.
An extract, the opening section, can be found at
http://www.kephrath.com/Extracts.aspx?choice=scenes. Enjoy!

Cover – Scenes from a Life

Here is the cover image I shall be using for the kindle and epub versions of Scenes from a Life

Scenes from a Life cover - kindle/epub

The pictures are from Egypt and Israel, and the glyphs were laid out by me, but the whole was put together by Ian Grainger (www.iangrainger.co.uk, also on Google+ at https://plus.google.com/u/0/+IanGrainger/posts where you can enjoy daily views of his photographic talent). Ian also provided the cover image for In a Milk and Honeyed Land.

All this means of course that Scenes from a Life is very nearly ready – I hope to get the kindle version launched this coming week, with soft-cover available through Amazon CreateSpace a little later, depending on the speed of their review process. The full image for the front and back of the soft-cover version will be on display before long. epub will lag behind as it takes varying amounts of time to register with the various vendors.

The toolkit used for producing Scenes from a Life

Spiral staircase, St John's College, Cambridge
Scenes from a Life is on its very last sanity read-through before release! All being well, this means a kindle release early next week, with physical copies through Amazon Createspace shortly after, depending how long their validation and approval process takes. Watch out later this week for the cover design to appear, a splendid composite picture which would not have been anywhere near so good without the extensive help of Ian Grainger.

So I thought I would take a short break from the slightly mind-numbing process of proof-reading to talk about the tools I have used to put this all together.

First and foremost there is Amazon’s KindleGen. Being of a technical disposition I use this “raw”, with all the actual content written in HTML, and a bunch of configuration files to tie them all together and define the structure. This means that I have complete control over the output, can check the results every step of the way, and avoid the formatting slips and navigation problems that I have met so often in both self-published and small-press books.

Next, epub format, for those many people who have other kinds of ereaders. This uses exactly the same HTML source files as kindle, but with a slightly different set of configuration files. In fact epub is a much stricter and more pedantic format than kindle, so it’s easier to work always to the stricter standard too keep both happy. Also, the diversity of ereader devices and applications, and the variations on how closely the manufacturers and software writers have stuck to the spec, means that to get wide coverage you have to be quite cautious and keep well within the bounds of what is possible. Once the source and configuration files are complete, epub is simply a zip (compressed) archive needing no special tools. Long-term readers of this blog will no doubt remember the struggles I had with this earlier in the year.

Finally, the physical copies. It has been an eye-opener going back to a world of absolute distances and dimensions for the layout. So much of my recent writing and professional life has worked in situations where text can just be reflowed at will to adjust to a different size screen or window. So, working with the constraints of a fixed piece of paper has been, to say the least, interesting.

Following the advice of my Finnish friend Petteri Hannila I tried out an online tool called ShareLatex. This takes source files in plain text, and joins them together with directives that define the physical appearance – paper size and margins, font size and type, and the whole host of conventions that go into book design. It was slow and frustrating at first, but again a technical background helps a great deal, and before too long I had got to grips with the parts of the latex language I needed for both the interior and the cover. The huge advantage of ShareLatex is that the output can go directly into Amazon’s Createspace software in “camera-ready” form. The downside – apart from its general unsympathetic interface – is that the error and warning messages when you make a mistake are exceedingly obscure. And once again, unlike just using Word and exporting to pdf, you have a lot of fine-grained control.

Which brings me to Createspace itself. This is, I think,a wonderful tool for those who are going to self-publish. Unlike ShareLatex, the errors and warnings are clearly explained and presented, and so far the process has been extraordinarily simple. I cannot yet say I have finished this – that will not happen until final proof-reading has happened, followed by the definitive page count and some last-minute accommodation to that. But so far, so good.

OK, that’s all for today… back to chapter 5… watch out for the cover in a few days…

Writing about religion

I have been wanting for some time to do occasional posts on the subject of religion in the second millennium BCE. Today’s post is a general start, loosely based on the rather short piece I did for the Orangeberry blog tour (Orangeberry book tour main page, or more specifically a guest post at Just My Opinion)

In that among other things I wrote

I enjoy writing about religion, or more exactly, I enjoy writing about people who have a religious faith. It is simply not possible to write about most ages of past human experience without including the religious life somewhere. Too often in books you come across a few very simple, and in my view quite unrealistic stereotypes. So there is the rabid fundamentalist, who reacts with violence to anything that seems to threaten his or her world view. Or there is the ruthless cynic, who knows it’s all make-believe and just wants to exploit others. Or there is the naïve villager, who is duped and never questions the wider system. Or there is the wise sage who holds to personal spirituality without the inconvenient trappings of any specific religion.

Now, I have at various times in my life mixed with and known people of faith who belong to various different religions, and I have to say that these simple pictures do not do justice to most of them. In terms of religious faith as well as other areas of life, people are more complex, and more interesting, than these stereotypes. They have doubt as well as faith, selfish as well as noble motives, mixed feelings about the religious institution they belong to, and, usually, commitment to a specific form of religion rather than a vague abstraction. They are often keenly interested in other forms of religion as well as their own, even if they think that those are ultimately incorrect.

Castlerigg stone circle, Lake District, England

For today I want to think about the many facets of religious life. The one which seems most obvious, judging from some of the books I read, is that of doctrine. I suppose it seems easy to quantify and approach, and is frequently used as s soft target by hostile writers: “these simple deluded folk really believe that the world was made from a discarded banana skin” or some such. For writers of a scientific disposition, it may seem a natural way to define a religion.

But many people who are spiritually inclined are well aware that this is a very small part of the religious life. In actual fact, doctrine is a serious intellectual pursuit and is frequently, in part, hard to follow. It also typically, in recognition that both the universe and the human organism are fantastically complicated things, has ideas and concepts which at first sight appear completely contradictory. The Egyptians, along with other peoples, were fond of this, making the quest for “Egyptian theology” quite a fruitless one. Some religious traditions have deliberately used these oppositional ideas to try to jog people out of complacency.

But more to the point, doctrine is not the centrally important thing to most religious groups that some writers present it as. To be sure, some groups place a very high store on sound knowledge, but still only as one facet amongst a much larger whole. In the Late Bronze Age world that I write about, doctrine is almost invisible. Readers will get very little sense of the details of Canaanite or Egyptian thinking from my books. The “favourite” goddess in Kephrath is Taliy, hardly one of the better known members of the Canaanite pantheon. Makty-Rasut, the main character in Scenes from a Life, expresses personal devotion to Seshat – again a figure that I suspect most people will need to use Google to learn about!

The second main area that you often find explored in fiction is spiritual experience; this typically gets a positive press, as it seems not specifically to tie in with the details of religion – “Trust your feelings, Luke”. It is certainly true that people recount their personal encounters with the numinous in very similar ways, regardless of their specific personal tradition. It is also true that these experiences are, seemingly, accessible to all, and evidence suggests that many, perhaps most people experience something of this at least once during their lives. Such experiences may be triggered by prayer or praise, but also by natural beauty, or sex, or moments of altruism. But equally, people who experience these moments more than just once in a lifetime have usually been involved with a particular religious tradition for a long time, and are thoroughly steeped in its particular disciplines and habits of thought. Even Luke has to disappear for an unspecified period of time to become trained and effective.

But there are other dimensions of religion which are often overlooked by writers. One is that of personal devotion. It seems attractive to some people to write about big temple ceremonies and lavishly dressed priests or priestesses – but in an agricultural world with no mass transportation, such pilgrimages must have been extraordinarily rare. Social classes below the elite may never have experienced them. For most people, the religious dimension of their life would be expressed in the home, or the village, with their families, friends, or next-door neighbours. Archaeological evidence and ancient texts support each other here, and we have strong evidence of household-level observance of rites and duties. I have equipped Kephrath with a high place, a small stone circle within and around which both religious and social events happen. We know that most settlements in the ancient near east had such arrangements of stones, though we do not know the details of how they were used. Today’s “community centres”, so important to isolated immigrant groups at risk of losing their identity after moving to a new nation, serve a similar purpose of blending religious observance and social need. In the absence of a dedicated religious building, the community centre serves as the focal point. Makty-Rasut, in Scenes from a Life, has a small statue of Seshat that he carries with him as a personal focus for prayer and devotion wherever he is living.

And this brings me on to the final dimension of the religious life for today – the social aspects. For many people in today’s world, in many different religions, social dimensions are in fact the most important ones that define their identity. Many Jews, Christians, Moslems, Hindus, Buddhists, and so on find their main experience of religion in the intricate web of the society around them. Huge numbers of people now and in the past have identified their religion not by rational assent to a doctrine, nor by vivid personal experience, but by the intimacy of their social network, and the place they and their family hold within it. The shape of a society (or a sub-group within society) is fashioned as an expression of religious commitment. Professor Dunbar has written of the cohesive effect of religion within human society (see for example a presentation he gave at a debate on race, religion and inheritance) – and also questioned whether this can or should continue in the future. That is a subject for another post – for today it is enough to recognise the central place of social interactions within people’s religious life. One of the central difficulties Makty has to face, though he does not really know how to articulate this, is how to step outside his familiar social circle into a different world. His statue of Seshat serves as a link back to the world he has known.

Enough for today – in a while I shall be writing about how religion changed between the second millennium Bronze Age and the first millennium Iron Age.

Another stop on the blog tour

Just a quick post tonight, with more to come later in the week hopefully.

The latest blog tour stopover is a guest post at http://www.aspiringbook.com/2013/11/writing-about-past-richard-abbott.html. The topic is “Writing about the past” and is a brief foray (via Star Trek) into the delights of writing creatively within a set of boundary conditions. In the case of Star Trek, the boundaries are set by the franchise holder. For those of us who write historical fiction, the boundaries are the things that are known about the past!

I have also been working on a cover for Scenes from a Life and am so-so happy just now. Needs more work…

The survival of Egyptian influence in Canaan

Another portion of the author’s notes from Scenes from a Life. This one briefly explores some issues surrounding the survival of Egyptian influence in the province of Canaan, after the collapse of the New Kingdom.

At one time scholars thought that Egyptian involvement collapsed extremely quickly, within a few decades after 1200 BCE or so, leaving essentially no Egyptian presence in Canaan. More recent careful investigation has shown that the actual situation was more complex. Egyptian rule in any direct sense was certainly over, and standing garrisons of troops were recalled. However, Egyptian influence remained considerably longer in the form of buildings, styles of pottery, and writing.

The author’s main interest is in the written word, and here we find several fascinating issues. Firstly, the style of Egyptian writing we now call hieratic survived in the former province of Canaan for a long time, especially for technical information like weights and measures. In Egypt herself, writing style evolved from hieratic to demotic, but the older form remained in the province. The obvious conclusion is that the style was learned during the period of occupation, and stayed in use after that had ceased – it is like a fossil relic of this earlier time.

Now, learning hieratic is a process that needs good teachers and a scribal tradition. We do not have direct evidence for schools of this kind in the form of buildings or monuments. However, these little marks of numbers and letters, scratched into the surface of various everyday artefacts, show that scribes trained in the Egyptian manner were still carrying out their trade in the province. The novel uses phrases such as “quick scribal signs” for this writing style. This is in contrast to what Makty-Rasut calls “proper writing” – hieroglyphic – which would be used back in Egypt for official or ceremonial purposes.

Next we have the evidence of the rather later biblical psalms. Several critics have noticed that one group of these, those which are petitionary pleas for help in time of trouble, bear strong resemblance to earlier letters written by subordinates to their political superiors. A writing style originally used in the secular sphere for addressing someone of higher rank, was adopted for religious use addressing gods. This would seem quite an obvious idea for someone who has been trained in official protocol and is then asked to create spiritual songs.

British Musuem - one of the Amarna letters
However, the resemblance is stronger than that. Specific kinds of phrasing, and specific kinds of appeal for help, turn up in political letters from around 1350 BCE, and also in the earliest psalms from around 1000 BCE or so. Moreover, they do so in the same geographical location – Jerusalem (Shalem in this story). This again suggests that there was a continuity of tradition that spanned those years.

In Scenes from a Life it is suggested that this link was set in place by an Egyptian scribe who found reasons of his own to move out to the province. Scribal teams in Egypt were well coordinated, with clear specialisation of skills, and it is easy to imagine that such a person would be able to organise and motivate a group of people in Jerusalem, whether Egyptian or native-born.

Books on the Underground

I have previously posted about this scheme, in which authors contribute books which are marked with a distinctive sticker and then placed for public consumption on the London Underground. Loads of people read something on the Tube, if only the free Metro newspaper, so the scheme is a great idea. Check out the website http://booksontheunderground.tumblr.com/ for more details. Anyway, there have been two sightings of In a Milk and Honeyed Land in the last few days – at Earls Court on Monday, and Notting Hill Gate today. Let’s hope someone is enjoying the read…

Other news from the Orangeberry book tour –

  • An extract (first chapter) and brief description at The Book Connoisseur
  • An author interview and some blurb at The Reading Cat – the interview has some stuff about the forthcoming Scenes from a Life as well as more general things.

There’s more to come over the next few weeks… which should keep me quiet in between proof-reading and such like.

Egyptian poetry and tomb writing

This is another portion from the author’s notes at the end of Scenes From a Life. This, and the rest of the book, is undergoing heavy proof-reading and editorial work just now…

Chapel entrance, Luxor

Tomb inscriptions are one of our main windows into Egyptian life at royal and elite levels. Tourists to Egypt, and visitors to museums all around the world, still look at these today. Here in London, the New Kingdom Egyptian galleries in the British Museum provide excellent background material to this story, as well as being well worth a visit on their own account.

As Makty-Rasut comments to his friend Sanedjem-Keni, the royal tombs focus almost entirely on formal religious themes. These are often individually expressed in different tombs, but display broadly the same ideas and images. This is because of the specific role that the ruler was expected to fulfill in the afterlife. A great deal depended on him carrying out the right actions in the right way, so the tomb decorations revolved around ensuring that he would be armed with accurate information for the task at hand.

The tombs of elite individuals lower down the social ladder – priests, high-ranking soldiers, city officials, and so on – are very much more varied. Some scenes are popular and appear often, such as a hunting scene of a married couple on a boat in marsh-lands. Others, however, are unique, and capture for us something of the particular life of an individual. If the person had carried out any sort of official duty then we expect to find something of this in the tomb record. In addition, lively and inventive images can pop up in surprising places. We learn far more about life in Egypt from these tombs than from those in the Valley of the Kings.

An important part of the tomb was the autobiography. This was not intended to be a dispassionate or balanced account of the person’s life. Rather, it served as a kind of CV justifying to the gods why that individual should be allowed to enjoy the delights of the afterlife. These autobiographies therefore seem to us to be grossly self-congratulatory. In the early days of Egyptology, they were treated with great suspicion, or dismissed as having no historical merit. Nowadays they are regarded with more sympathy, and sifted for nuggets of value in amongst the generally up-beat expressions.

In Scenes From a Life, the snippets at the start of each even-numbered chapter are an invented but credible tomb autobiography for Makty-Rasut. Each one speculates how he might have presented for eternity the events described in that chapter. In contrast, the poems at the start of the odd-numbered chapters are taken from, or adapted from, one or other of the love poems which have been found in Egypt. Many of these were discovered near Luxor, in particular among the workmen’s houses at Deir al-Medina.

When reading translations of ancient Egyptian material, it is always worth remembering that the plain text version we read is only part of the whole. It is loosely similar to hearing the dialogue from a film soundtrack without seeing the pictures, since our written form is almost completely divorced from any underlying visual content. It does not really matter to us, and is largely overlooked, that the letter “A” originally derived from the head and horns of an ox. Today we routinely separate out writing from illustrations.

But with Egyptian writing, the visual and textual parts of an inscription were a unified whole. Since most letter signs still clearly showed their origins as pictures of real-world objects, it is easy to integrate the two. There are many places where one sign in the written text is placed so as to also form part of a composite pictorial scene. In other places, design elements in the picture can be read as words or suggestive puns.

The “hunting in the marsh” scenes mentioned above are loaded with such elements, indicating that the picture is not really about catching ducks or fish. The main message told by the visual metaphors is one of love, passion and fertility. A scribe such as Makty-Rasut would show his skill by weaving in such “hidden” stories in amongst a more simple surface-level picture.