Silver Tomb Released

number-2-silvertomb-final-wallpaper.jpgI’m very happy to reveal that the second Lazarus Longman novel – Silver Tomb – is now available for purchase from Amazon, Amazon UK, Barnes and Noble and Smashwords.

His mission was to bring home the wayward fiancé of a British politician who just might be a French spy. But for Lazarus Longman – former explorer and secret agent for the British Empire – things are never that simple. The politician in question was once his friend but is now his bitter rival. The fiancé is France’s leading Egyptologist, a woman whose dealings with a renegade Confederate scientist have drawn the attention of more than the British Secret Service.

From the seedy dens of Cairo’s black market to the backwater villages of the Nile where the burst of Gatling Gun fire is the nationalist war cry, Lazarus finds himself up to his neck in sinister plots, political machinations and the stench of the dead given frightful mobility by modern science. But an unlikely ally blows in on the desert wind – Katarina Mikolavna; an old acquaintance and the Russian Tsar’s deadliest weapon.

Once again the two agents find themselves on opposing sides in a clandestine war of empires that casts its dirigible-shaped shadow over the burning sands of North Africa.


A Quick Guide to Mummy Movies

mummy movies

Mummies feature in my novels Curse of the Blood Fiends and Silver TombIn writing them I drew on mythology more modern than ancient. Although the concept of reanimated mummies are never mentioned in Egyptian sources, the writers of the late nineteenth and early twentieth century were fascinated by the creepy possibilities they posed as plot devices. With the rise of cinema, mummies were every bit as suitable for celluloid terror as vampires and other monsters and there were several silent mummy-themed movies like The Eyes of the Mummy (1918, released in the U.S. in 1922). However, few of these films actually featured a reanimated mummy. Most dealt with reincarnation and some were comedies in which a character wraps himself up as a mummy in order to scare people.

7204978_f520It wasn’t until 1932 that the definitive mummy movie would make it onto screens. Universal Studios, fresh from their success with Dracula and Frankenstein (both 1931) were looking for a vehicle for their new star, Boris Karloff. They landed on Ancient Egypt, still popular thanks to the discovery of Tutankhamen’s tomb ten years earlier and all the associated talk of curses. The Mummy tells of Im-Ho-Tep; an Ancient Egyptian priest who was mummified alive for blasphemously attempting to bring back to life his deceased lover, Ankh-es-en-amon using the Scroll of Thoth. Accidentally reanimated by a young Egyptologist involved in uncovering his tomb in 1921, Im-Ho-Tep gets a new lease on life and promptly vanishes, leaving the young scholar to die raving in a madhouse. Ten years later, an expedition of British archaeologists are led to the tomb of Ankh-es-en-amon by a helpful (although decrepit) Egyptian called Ardath Bey. Bey turns out to be none other than Im-Ho-Tep, now mostly restored to human form, who is still looking to reanimate his lost lover. When he encounters Helen Grosvenor – daughter of the governor of the Sudan – he sees in her the reincarnation of Ankh-es-en-amon and decides that she will do instead.


Universal’s 1940 follow-up – The Mummy’s Hand – was less of a sequel and more of a remake with the mummy this time around being Kharis, buried alive for attempting to restore his lover, Princess Ananka, using the sacred ‘tana leaves’. Far from being an independent thinker restored to some semblance of his former self like Karloff’s Im-Ho-Tep, Kharis remains under wraps (so to speak) and is under the control of the Priests of Karnak, ordered to kill at the behest of the insideous sect. Kharis is much more of a traditional lumbering monster than Karloff’s articulate and intelligent character and remained so in the three sequels that followed. Set thirty years on in (supposedly) 1970, The Mummy’s Tomb (1942) sees Kharis and his new master travel to the United States to wreak vengeance on the Banning family who desecrated Ananka’s tomb in the first film. The Mummy’s Ghost (1944) is also set in the ‘future’ of 1970 and has a further disciple of the Priests of Karnak (now called the Priests of Arkam, inexplicably) revive Kharis and attempt to return him to Egypt. The final entry in this series – The Mummy’s Curse – was also released in 1944 and is set twenty-five years later, (presumably 1995, despite the hats and spats on show). In this one an engineering company inadvertently dredges up Kharis and his bride, Ananka, from the swamp where they perished in the previous film. The old tana leaves are brewed up once again by a new disciple of the Arkam sect for a final lurch across screens. As with most other Universal monsters, the Mummy got the Abbott and Costello treatment in Abbott and Costello Meet the Mummy (1955) which was to be the comedy duo’s final movie together.

mummy_1959_poster_01Hammer Film Productions – the British heir to Universal’s horror mantle – had already found success with remakes of Dracula and Frankenstein in 1958 and naturally dusted off the Mummy for their next full color outing. The Mummy (1959), starring Hammer stalwarts Peter Cushing and Christopher Lee as John Banning and the mummy respectively, was a remake of The Mummy’s Hand rather than Universal’s 1932 original, although Hammer dispensed with the tana leaves idea and reverted to the ‘Scroll of Thoth’ as a plot device. Hammer borrowed elements from the other Universal mummy movies like the pursuit of John Banning to his homeland (this time Victorian England) by Kharis and his master and the use of a local swamp as both the site of resurrection and eventual fate of Kharis.


Hammer’s other mummy movies bore no relation to their 1959 version or to each other. The Curse of the Mummy’s Tomb (1964) had a by-the-numbers plot involving three archaeologists who bring the mummy of Ra-Antef back to 1900s London, only to have it come back to life while on tour. The Mummy’s Shroud (1967) parallels the alleged curse of Tutankhamen in that the mummy of a boy pharaoh, Kah-To-Bey, is discovered by a British expedition in 1920. After bringing the mummy to the Cairo museum, the archaeologists soon find themselves hunted down by the reanimated mummy not of the boy-king, but of the devout slave who mummified him and had subsequently been discovered and kept in the Cairo museum. Hammer’s final mummy movie – Blood from the Mummy’s Tomb (1971) – did not include a mummy per se, but rather the reincarnation of Queen Tera, being a loose adaption of Bram Stoker’s 1903 novel The Jewel of Seven Stars. The queen – found in her tomb perfectly preserved by Professor Fuchs – is brought back to London and kept in an eerie shrine. As in the novel, the professor’s daughter Margaret finds herself gradually possessed by the spirit of the ancient sorceress.


Unlike vampires, zombies and werewolves, mummies did not prove much of a box office draw in the following decades and were relegated to low budget grindhouse movies like Dawn of the Mummy (1981) which is more of a zombie movie with an Egyptian theme. A rare exception is the Charlton Heston starring film The Awakening (1980), another version of The Jewel of Seven Stars. Going direct-to-video in the US, Tale of the Mummy (1998) – also available as a directors cut called Talos the Mummy – has Christopher Lee playing the doomed archaeologist this time, unearthing the tomb of Talos in 1938. Fifty years later his granddaughter strives to continue his work, awakening Talos in the process. 1998 also gave us the direct-to-video feature Bram Stoker’s Legend of the Mummy; yet another version of The Jewel of Seven Stars, its title clearly trying to continue the legacy of the Copploa-produced Bram Stoker’s Dracula/Mary Shelly’s Frankenstein double-punch of 1992/1994. A sequel followed in 1999 (also known as Ancient Evil: Scream of the Mummy) which traded Egypt for an Aztec theme.

The-Mummy-movieposterdbIn 1999 the mummy movie came back in a big way. Universal Studios decided that their original Boris Karloff feature was due for a remake. But this CGI-filled adventure extravaganza was more reminiscent of Indiana Jones than the atmospheric 1932 chiller. Set in 1926, librarian and Egyptologist Evelyn Carnehan hires mercenary Rick O’Connell to take her to Hamunaptra where, due to the unwise reading of the Book of the Dead, the mummy of disgraced priest Imhotep is brought back to life. Imhotep sees in Evelyn the reincarnation of his lost love Anck-su-Namun and brings with him several spectacular plagues in Biblical style. The Mummy was vastly popular resulting in two sequels; The Mummy Returns (2001) and The Mummy: Tomb of the Dragon Emperor (2008) which ditched Egypt for China and saw the O’Connell family
(including their fully grown son) fend off a resurrected Chinese warlord, yetis and an army of reanimated terracotta warriors. Universal is set to redo the mummy yet again as the kick-off of their anticipated monster ‘shared universe’. Starring Tom Cruise, The Mummy is expected to hit screens summer 2017.


1942-complete-cover-2My newest novel – Curse of the Blood Fiends – is an homage to the monster movies of the 1940s. As well as vampires and werewolves, there is a mummy and a nod to the Universal mummy films in the nefarious Tana Inc. – a research company that unwittingly releases a virus that threatens to turn all of Los Angeles into blood hungry monsters. Blending genres, the novel is also a noirish detective story as PI Rosa Bridger trails a drug-addled starlet into the dark shadows of the City of Angels and uncovers something much more sinister than the hoodlums and hop-pushers she is used to dealing with.



Vintage Reads #13 – The Mummy, or Ramses the Damned

TheMummyAnne Rice, writer of the famous Vampire Chronicles, penned this short stand alone novel in 1989 and, drawing upon the legacy of Universal and Hammer monster movies, succeeded in creating a great modern version of an age old tale set during the wave of Egyptomania of the early twentieth century.

Opening in 1914, a mysterious tomb is discovered by wealthy archaeologist Lawrence Stratford. There is a mummy and some notes written by the deceased that claim he is none other than Ramses II (the Great). This is regarded as a hoax by most as the mummy of Ramses II had already been discovered by this point and the style and script found in the tomb are from the Ptolemaic period, many hundreds of years after the time of Ramses II.

Ramses’s deal is that he obtained the elixir of life from a Hittite princess and is thus immortal, although often dormant to be ‘regenerated’ by the rays of the sun. He existed in this way for centuries, called upon by the rulers of Egypt for counsel in their times of need. The last to call upon him was Cleopatra who he fell in love with. Needless to say, with Mark Anthony and the birth of the Roman Empire on the horizon, that ended badly.

RAMmummy (1)The villain of the piece is Stratford’s nephew Henry who poisons his uncle shortly after the discovery of the tomb. The mummy is brought back to London and promptly regenerates just in time to stop Henry from trying his poisoning trick on his cousin, Julie. In his new form as a living, breathing Adonis, Ramses quickly has a new lover in the form of Julie. Calling himself Ramsey (see what he did there?) the undead pharaoh immerses himself in the modern world, drinking it all in like a giddy schoolboy.

With the drunken Henry, driven half mad by what he has seen, now obsessed with getting his hands on the elixir, Julie and Ramsey travel to Egypt, intent on seeing the sights. Things don’t go to plan however as Ramsey spots an unidentified mummy in the Cairo museum and, recognizing his old flame Cleopatra, uses the elixir on her resulting in two mummies on the loose.

Inventions and Discoveries of the 19th Century #7 : The Deir el-Bahari Mummy Cache

The second Lazarus Longman novel – Silver Tomb deals with Egypt both ancient and nineteenth century. Despite being fiction, it does touch on a real event which was vastly important to the burgeoning field of Egyptology. By the 1880s, the practice of rooting about ancient Egyptian sites for treasure or purchasing it from antique dealers and shipping it out of the country to private collections in Europe and America was outlawed. The study of the country’s past and preservation of its antiquities became a national concern thanks to the likes of Amelia Edwards and the renowned scholar and founder of the Egyptian Department of antiquities, Auguste Mariette.

But in 1881 items began appearing on the black market which clearly came from tombs undiscovered by Egyptologists. Mariette, now nearly blind and approaching death, desperately hoped to discover the source of these artifacts but it was to be under the authority of his successor – Gaston Maspero – that the discovery was to be made.

escondrijo1The source was a single tomb accessible by a vertical shaft located in the vicinity of Deir el-Bahari (northern monastery) of the Theban Necropolis. Most likely it had been the tomb of the High Priest Pinedjem II but had been used as a cache by other priests in antiquity to conceal the mummies and funerary equipment of more than fifty pharaohs and nobles to protect them from grave robbers. A local family from the three villages known collectively as Kurna/Qurna had discovered the tomb some years prior to 1881 and had been steadily selling off artifacts piece by piece. Some internal dissention within the Abd el-Rasoul family led one of their members to talk to the authorities.

Émile Brugsch – assistant curator of the Bulaq Museum – was led to the tomb by one of the Abd el-Rasouls and made the discovery of a lifetime. Among the mummies were the remains of Ramses II; Egypt’s most renowned and, until then, sought after pharaoh. In order to secure the items quickly and avoid any more being stolen, Brugsch cleared the tomb within forty-eight hours. But upon the procession’s arrival in Cairo, word had got around and people turned out in droves to welcome the returning pharaohs.

RAMmummy (1)

In my alternate history novel Silver Tomb, I have played around with the dates of these events, pushing them back to 1886. Émile Brugsch is still the one who discovers the Deir el-Bahari cache with the help of Flinders Petrie, Lazarus Longman and of course, the disgruntled member of the Abd el-Rasoul family.

The Egyptian film The Night of Counting the Years (1969) is based on the discovery of the Deir el-Bahari cache. Also known as Al-Mummia, it is a surreal, dreamlike piece and is considered by many to be Egypt’s finest film. It fictionalises the Abd el-Rasoul family and focuses on Wanis who begins to question the morality of robbing their ancestors in order to sustain themselves.

Vintage Reads #12 – Arthur Conan Doyle’s Mummy Stories

Sir Arthur DoyleRenowned spiritualist, Sir Arthur Conan Doyle wrote in a variety of genres, not least of which were his tales of the supernatural. As well as taking part in seances  and claiming to be able to communicate with the dead, he lent support to various reported phenomena (later revealed as frauds) such as the Cottingley Fairies. Naturally the mysteries of Egypt appealed to him. He strongly believed in ‘elementals’ created by the priests of ancient Egypt to protect the tombs of the pharaohs in the form of curses. He attributed the death of his friend Bertram Fletcher Robinson, who had been studying a female mummy in the British museum, to these elementals. When asked by a reporter in 1923, he also put the death of Lord Carnarvon (discoverer of Tutankhamun’s tomb) down to his tempting fate, thus fuelling the sensational rumours of ‘King Tut’s Curse’ further. But it was his two short stories dealing with ancient Egyptian magic and mummies that had the biggest effect on popular culture.

Published in the Cornhill Magazine imummy ardethn 1890, The Ring of Thoth tells of an Egyptologist named John Vansittart Smith who, on a visit to the Louvre museum, comes across a haggard-looking caretaker who catches his imagination. Convinced that the fellow is an Egyptian of the oldest order, Smith is unable to concentrate on his studies and eventually drifts off to sleep only to awaken to find that he has been locked in the museum for the night. Wandering the lonely and shadow-haunted rooms of the Louvre, Smith comes across the strange caretaker removing a mummy from its case and unwrapping it to reveal a beautiful woman. Startled by the Englishman’s approach, the attendant eventually agrees to tell his story; a tale of love, rivalry and a quest to find the Ring of Thoth which is the only thing that can break the spell of immortality and reunite him with his loved one.

tumblr_mcf5ozVsA41qmemvwo1_500Lot No. 249 is perhaps the most influential of Doyle’s mummy tales in that it was the first story ever to feature a reanimated mummy as a figure of horror. Jane Webb wrote the first mummy story in her science fiction tale of the future The Mummy!: Or a Tale of the Twenty-Second Century in 1827 and Edgar Allen Poe had reanimated a mummy in his satire Some Words with a Mummy (1845) but it was Conan Doyle who can truly be said to be the root of the modern ‘mummy monster’ popularised by the movies. Published in 1892, Lot No. 249 regards medical student Abercrombie Smith who, after moving into his rooms in a crumbling tower at Oxford, begins to have suspicions about his neighbor on the floor below. Edward Bellingham is an Egyptologist who has an array of weird artefacts in his room, weirdest of all is a mummy in a glass case. Smith begins to think that Bellingham is not alone in his rooms at night as the footsteps of a second individual are often heard. Then attempts are made on the lives of Bellingham’s rivals by an unknown assailant…

Whereas The Ring of Thoth undoubtedly influenced Universal’s The Mummy (1932) Lot No. 249 was a definite inspiration for most mummy movies that followed it, notably Universal’s second mummy feature The Mummy’s Hand (1940) which began the cinematic tradition of big, shambling mummies lurching after their victims under the command of wicked individuals. The idea of burning special leaves to control the mummy (a plot device used in most of Universal’s mummy movies) may also have come from Lot No. 249 as strange leaves are found in Bellingham’s room at the end of the story.


Inventions and Discoveries of the 19th Century #6 – The Work of Flinders Petrie

800px-PetrieThe 1880s was when things started getting serious in Egyptology. The days of looting and exporting antiquities based on their material value and trampling over everything else was coming to a close and men like Flinders Petrie heralded a new age of respect for Egypt’s heritage and a wish to preserve it.

Born in Kent, England in 1853, Petrie never let his lack of formal education stand in the way of his love of archaeology. Even at age eight he expressed horror at the rough shovelling of earth that was going on at the excavation of a Roman villa on the Isle of Wight and exclaimed that earth should be removed slowly and systematically to avoid damaging what might lie beneath. His career began with the study of British sites and at the age of nineteen he conducted the most accurate study of Stonehenge by that point. Egypt followed in 1880 and he produced the first real study of how the pyramids at Giza were constructed.


Small temple of the Aten at Tell el-Amarna as seen today

His studies were brought to the attention of Amelia Edwards (patron of the Egypt Exploration Fund) who was impressed by the young man and funded his further digs in Egypt. Commencing in 1884, Petrie embarked on a series of excavations of Egypt’s sites including Tanis and Tell Nebesheh. He developed a reputation for ‘cutting out the middle man’ by acting as foreman and for giving cash rewards for artifacts found, thus ensuring that they were not stolen or handled carelessly. In 1891 he worked at Tell el-Amana (known in antiquity as ‘Akhetaten’ – city of the heretic pharaoh Akhenaten) and discovered a very attractive painted pavement depicting many scenes of farming and hunting life.

His later career focused primarily on Palestine where he continued to implement his painstaking methods which set new standards in archaeology. His contribution to Egyptology was immense; a field in which he was the first to use seriation – a method of dating layers of earth based on pottery fragments. I found him such an interesting character that I used him as a supporting character in my novel Silver Tomb. In it I refer to his excavations at Tanis and Tell Nebesheh but as it is an alternate history novel, there are some changes. The novel opens in 1886. Petrie is finished at Tell el-Nebesheh and is currently working at Tell el-Amarna (which he didn’t excavate until 1891 in reality). I have also involved him in the discovery of the mummy cache at Deir el-Bahari which in reality was discovered in 1881 while Petrie was still in England.

Vintage Reads #11 – The Jewel of Seven Stars

jewel of seven starsAlthough not technically a mummy story (there’s no real reanimated mummy in it, but we’ll get to that) Bram Stoker’s tale of ancient Egyptian evil and mysticism has had a big effect on the genre resulting in at least three movies based on its plot and characters. Dracula author Bram Stoker had always been intrigued by Egypt’s ancient brand of spiritualism. At a young age Stoker was a visitor to the house of fellow Irishman Sir William Wilde (father of Oscar Wilde). Wilde was an amateur archaeologist whose house (like the Trelawny house in the novel) was filled with Egyptian antiquities and the stories of his expeditions and digs in that far off land clearly influenced the young writer. In a time when fascination with Egypt’s mysteries was spawning various secret societies and the occult dabblings of Alistair Crowley, Stoker was not alone in his pursuit for mystic knowledge and his descriptions of artefacts and spiritual ideas are layered with authenticity.

Bram_Stoker_1906Malcolm Ross – a young barrister – is the story’s protagonist who finds himself neck-deep in a mystery plot at the Trelawny house in Notting Hill. Abel Trelawny is an Egyptologist who has been found unconscious and wounded on the floor of his bedroom study. Among Abel’s Egyptian collection is a mummified cat, a human mummy (missing a hand) and a perfectly preserved severed hand with seven fingers. Adorning one finger is carven ruby ring set with seven points resembling the plough constellation. Ross is in love with Trelawny’s daughter Margaret, who reveals a mysterious letter penned by her father stating that his body should not be moved from his room and must be watched until he wakes up. Eugine Corbeck, another Egyptologist, who worked with Abel turns up at the house and tells Ross of his and Abel’s trip to Egypt years previously and their discovery of the tomb of Queen Tera, an ancient sorceress. The moment they cracked open Tera’s sarcophagus, Abel’s wife back in England died giving birth to Margaret; a coincidence vital to the plot. When Abel awakens from his state he begins to put in motion his plans for a ‘great experiment’ which will give him vast insight into the spiritual plains of the ancient Egyptians by returning the spirit of Queen Tera (that has been residing in the mummified cat) to its proper corporeal vessel. But the spirit of Queen Tera is already trying to enter Margaret’s body causing her to display alarming shifts in personality.

As well as showcasing the Victorian fear of the rise of the ‘New Woman’ in Margaret’s gradual transformation from a timid, non-threatening love interest to a strong, sexually powerful and independent woman, Tera’s threat to civilisation and her plans to rule the modern world make the novel an example of Imperial Gothic, a subgenre marked by the fear that the civilised world had reached its peak and the only way left was down, back to barbarism. This idea was mirrored by the French notion of Fin de siècle’ (end of the century) and the idea that all will eventually degenerate to decadence.  blood_from_mummys_tomb_01