67 pages • 2-hour read
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Content Warning: This section of the guide includes a discussion of racism, gender discrimination, and illness.
On June 8, 1921, Eve and Lieutenant Beauchamp attend a Burlington Fine Arts Club exhibit in London, where Lord Carnarvon has loaned Egyptian artifacts. Eve recounts the chamber collapse, deliberately emphasizing Ahmed Gerigar’s role in freeing her and Carter, noting that Egyptian contributions are often minimized in such retellings. She also describes their escape from a nationalist mob in Port Said. Beauchamp, visibly moved, says he hopes to thank Ahmed one day. Eve catches herself lamenting nationalist disruptions to the dig and corrects herself; Beauchamp tells her she has opened his eyes to the cause. Carnarvon summons them to examine an obsidian head of Pharaoh Amenemhat III, which he dismisses as overrated, resenting that collector Reverend William MacGregor receives praise for loaning objects he never excavated—a contradiction Eve privately notes, given that Carnarvon’s own prized Senusret III statue was purchased from a Cairo dealer. Later, Eve is surprised to find a vase she personally excavated on display and explains its ibex-shaped handles and Merneptah’s cartouche. Beauchamp, his attention fixed on Eve rather than the vase, says she makes Egypt look entirely different and proposes they must go there together.
On July 2, 1921, Eve attends race day at Newbury Racecourse with her family and guests, including Lieutenant Beauchamp, who is visiting Highclere Castle for the first time. Beauchamp is nervous about impressing Eve’s parents, which she finds endearing, and she reassures him. Her brother, Porchey, arrives and introduces Miss Catherine Wendell of New York, whom he met in Paris; their held hands signal the relationship is serious. Catherine and Beauchamp discover shared American connections. Eve jokes to Porchey about their mother’s dislike of Americans, but Porchey turns grave: Catherine has little money, and Carnarvon has been preoccupied with finances. Eve is stunned, having assumed their mother’s inherited fortune was sufficient, and promises a worried Porchey to support his relationship with their parents.
That same evening at Highclere, Eve can barely eat. Connecting overlooked signs—art auctions, the sale of the London town house, staff reductions—she concludes the family is on the edge of financial ruin. Carnarvon asks her to share the Egypt escape story for the guests; she obliges but feels hollow, especially when the guests take no notice of Ahmed’s role. After dinner, Beauchamp quietly asks if she is all right, for he is the only person to see past her composed manner. Touched, she leads him through a secret door in the Library into the Music Room to view the Egyptian collection, recently returned from the Burlington exhibit. She shows him a magnificent necklace, and when he asks to put it on her, she agrees; she shivers as his fingers touch her neck. He tells her she is beautiful and kisses her; she returns the kiss. A noise forces them apart, and as they move toward the door they overhear Carnarvon and Porchey arguing in the Library. When Carnarvon rejects Miss Wendell, Porchey declares his love for her. Eve shuts the door. When she begins to apologize, Beauchamp stops her and asks her to call him Brograve when they are alone.
By September 30, 1921, Porchey’s determination wins out. Lady Carnarvon unexpectedly champions Catherine and, absorbed in organizing events in her honor, leaves Eve largely to her own devices. Eve spends mornings riding and afternoons working with Carter, mapping the Valley of the Kings and studying past excavation records to find Tutankhamun’s tomb, while secretly pursuing their true goal of finding Hatshepsut’s tomb. When Brograve arrives for a hunt weekend and takes genuine interest in the work, he asks whether any evidence of Hatshepsut exists near a site where American archaeologist Theodore Davis previously found objects bearing Tutankhamun’s name. Carter snaps that Hatshepsut’s tomb has no bearing on their site selection and Brograve excuses himself. Once he leaves, Carter confronts Eve: She should not have disclosed their secret pursuit, since Carnarvon does not know it has been their true objective. Carter also hints that the excavation is financially precarious. Eve catches up with Brograve in the corridor; he tells her never to apologize for her family or her work, says he will miss her when she goes to Egypt in January, and hopes to dig alongside her one day.
On March 1, 1922, Eve, Carnarvon, and Carter sit in the Winter Palace bar in Luxor after another failed excavation season. Carnarvon has been selling inherited properties, paintings, and Egyptian artifacts to cover Highclere’s mounting costs, and it is still not enough. Carter tentatively offers to sell some of his own artifacts to fund the dig—an indirect admission of his trade in questionable antiquities—which Carnarvon brushes off, his reaction suggesting he is at least partly aware of Carter’s dealings. To lift morale, Eve proposes a trip to Cairo, citing Egypt’s newly declared independence and an invitation from the Allenbys. Once Carnarvon agrees and leaves, Eve quietly tells Carter their real reason for going: approaching underground dealers for any information connected to Hatshepsut.
On March 2 in Cairo, while Carnarvon meets with Allenby, Eve and Carter work through the Khan el-Khalili souk, visiting several dealers so that word of their visit will precede them to Mamouk, a more reputable shopkeeper. At each stop, Carter produces small artifacts from his bag to build goodwill and prompt frank discussion. In Mamouk’s back room, they find nothing linked to Hatshepsut. When Eve asks directly, Mamouk reports that the Metropolitan Museum’s team at Hatshepsut’s temple may have found relevant objects but keeps everything to themselves, and concludes that if they want a Hatshepsut artifact, they will simply have to excavate it.
That evening, Eve accompanies Carnarvon to a dinner party at the High Commission Residency, determined to project optimism so Carnarvon will not abandon the excavation. A forthright American woman introduces herself as Mrs. Ernest Thompson Seton, a travel writer who encourages women to explore the world, currently researching Egypt. When Eve mentions she works on archaeological digs, Mrs. Seton is astonished, then offers to bring Eve—disguised as her assistant—to an interview she has arranged with Saad Zaghloul’s wife, widely known as the Mother of the Egyptians, the following morning. She frames the invitation as an act of solidarity for women who step outside societal expectations, and Eve agrees.
On March 3, Eve lies to Carnarvon and accompanies Mrs. Seton to the Zaghloul residence, the guarded nationalist headquarters. Inside, Madame Zaghloul sits surrounded by Egyptian women from every social class. Mrs. Seton interviews her about emerging from purdah in 1919 after her husband’s exile, organizing boycotts and public marches that created genuine economic pressure. Moved, Eve half-whispers that the story reminds her of Hatshepsut. Madame Zaghloul responds thoughtfully, noting that Hatshepsut created a better land for her people. She then identifies Eve as English and observes that she is unlike most English women, who never attempt to understand Egyptians. Eve says she hopes to be as brave as Madame Zaghloul and Hatshepsut; Madame Zaghloul replies that ancient Egyptian history is not past but alive within Egyptian women, capable of rising into a powerful force when needed.
Back in Luxor on March 6, Eve acts on an idea prompted by Madame Zaghloul’s words. Since Hatshepsut justified her authority through her father Thutmose I and the gods, Eve wonders whether she planned a hidden burial chamber extending from KV20, which already contains both their sarcophagi, which were found empty. Carter agrees to reopen the site. Eve, Carter, and Ahmed spend two hours systematically examining the burial chamber walls and find no hidden opening. As Eve sits on the floor in defeat, her fingernail catches a buried fragment: a piece of an ushabti, a type of figurine often found in burial chambers, bearing what appears to be part of Hatshepsut’s cartouche. It is possibly the first such object ever found. Eve recognizes that this is not enough to secure another season, and leaving the tomb she reflects that failing to fully uncover Hatshepsut means disappointing “[h]er family. [Herself]. Madame Zaghloul. Women everywhere” (245).
In 1472 BCE in Thebes, Hatshepsut prepares for her formal coronation with Senenmut, her advisor and lover, who reminds her she has already governed for seven years, and the ceremony is a formality. The high priest, Hapuseneb, crowns her and invests her with the crook and flail before a large crowd. Hatshepsut announces her pharaonic name—Maatkare Khenemet-Amun Hatshepsut—using a feminine structure of the name to make her gender permanently plain. She shares the throne with the eight-year-old Co-Pharaoh Thutmose III, who asks her not to leave him to rule alone; she takes his hand and promises they will govern together.
In 1470 BCE, a nobleman publicly challenges the cost of Hatshepsut’s expedition to the kingdom of Punt; to assert her authority, she has him removed from the throne room. Shortly after, the expedition’s leader, Nehsi, returns after two years of silence with trade established and a cargo of incense, living incense trees, animal hides, ebony, gold, and three Punt dignitaries ready to negotiate ongoing relations. Hatshepsut descends from her throne to receive Nehsi personally and orders a festival in his honor, framing the expedition’s success as divine confirmation of her reign.
In 1467 BCE during the Thoth festival, Hatshepsut learns that Thutmose III resents her dominance. When they are carried through the crowds on litters, he confronts her, saying he is of age and must rule alongside rather than behind her. Rather than resist, Hatshepsut responds with apparent enthusiasm, claiming she has long awaited this moment, and defuses the challenge by offering him command of the Egyptian military, channeling his ambition into a role that preserves her own authority while giving him genuine power.
In 1465 BCE, Thutmose III and Neferure, Hatshepsut and Senenmut’s daughter, are formally wed in a temple ceremony. Hatshepsut watches from her throne, unable to celebrate alongside the guests. She and Senenmut share quiet grief over Neferure’s transition from daughter to queen. Hatshepsut presents the couple with a newly constructed palace as a wedding gift, having concealed its purpose as a mortuary project. The chapter closes with Hatshepsut wishing, for once, to only be Neferure’s mother rather than her pharaoh.
In 1464 BCE, Hatshepsut uses the culminating ceremony of a month-long Sed festival to silence ongoing doubts about her rule. For the first time, she appears before the public in full masculine pharaoh dress, declaring this will now be her permanent public presentation. She delivers a speech presenting a new account of her divine conception, claiming the god Amun appeared to her mother and was her true father. Then, she opens the newly built Red Chapel, its walls depicting her legitimacy and Neferure’s role as God’s Wife of Amun, to ordinary citizens. She closes with a warning that opposing any member of the Thutmoside line means opposing all of them.
The narrative critiques the commodification of Egyptian heritage and explores The Ethics of Archaeology and Cultural Ownership. The romanticized facade of British archaeology crumbles when Eve notes her father’s hypocrisy: resenting a rival while acknowledging his Senusret III statue was bought from a Cairo dealer. This moral ambiguity deepens as Howard Carter sells antiquities to Khan el-Khalili merchants to fund excavations. In this hypocritical market, European excavators condemn tomb robbers while trafficking the same artifacts for prestige. Furthermore, it is noted that the archaeologists from the Metropolitan Museum, who are reconstructing Hatshepsut’s temple, “keep everything for themselves” (228). This highlights the conflict of ownership: Even though the British are unearthing historical treasures, these items were made in Egypt by Egyptian people and are part of their national heritage. In the months that follow, when Egypt gains independence from the British protectorate, there is a “changing perspective on who should own ancient Egyptian artifacts” (244). Within the unsettled political climate, there is also unrest over cultural ownership of the region’s history.
Within this fraught environment, Eve also confronts the fragmented state of women’s history, highlighting The Erasure of Women From the Historical Record. Searching KV20 for Hatshepsut’s remains, Eve and Carter find only a fragmented ushabti. Unlike monumental male treasures, female leadership must be meticulously assembled from obscured remnants, plunging Eve into despair over her quest to resurrect Hatshepsut’s story. The motif of Hatshepsut’s elusive burial place exemplifies just how thoroughly women are erased from historical record. Contrasting Eve’s struggle to recover history, Hatshepsut proactively weaponizes monumental architecture and spectacle to prevent cultural erasure. Combating murmurs against her legitimacy, she commissions a red quartzite chapel. Revealed during the Sed festival, its carvings utilize masculine depictions to align with patriarchal precedents, while secretly integrating images of her daughter Neferure as God’s Wife of Amun. Earlier, to sustain her precarious mandate, Hatshepsut employs calculated spectacle. After harshly disciplining a nobleman for questioning the Punt expedition, she reframes Nehsi’s triumphant return with exotic wealth as proof of Amun’s blessing. Similarly, she diffuses Thutmose III’s martial threat by publicly granting him command of the military during the Thoth festival, spinning the concession as the joyful fulfillment of a beneficent plan. Ultimately, Hatshepsut uses public monuments, appearance, and political maneuvers to combat society’s tendency to undermine women’s power.
To legitimize their authority, both ancient and modern women must continuously subvert patriarchal frameworks. Attending an interview of Madame Zaghloul, leader of the Egyptian nationalist women’s movement, Eve learns the activist navigates conservative constraints by tethering her authority to God and her exiled husband. This prompts Eve to deduce that Hatshepsut similarly justified her rule by aligning her legacy with her father and the gods. In antiquity, this manipulation required suppressing the female form. Hatshepsut’s evolution from regent to pharaoh necessitates a deliberate transformation. Initially combining masculine regalia with a feminine throne name, she eventually abandons this equilibrium. By the Sed festival, she has her maids bind her breasts to project invulnerable masculinity. Acknowledging this performative necessity, she notes her presentation is “a sort of iconography” (267), validating Zaghloul’s declaration that women’s ambition is a continuous force that will ultimately “transform the land” (241). However, in order to preserve her power and authority, Hatshepsut must do so within the confines of patriarchal frameworks, evident in her altered appearance.
In both timelines, this ambition inevitably triggers The Conflict Between Personal Ambition and Familial Duty. For Hatshepsut, divine kingship demands sacrificing domestic intimacy. Tradition dictates she remain elevated to preserve a godlike aura, forbidding her from joining Neferure’s wedding. Observing from a distant throne alongside Senenmut, this physical separation materializes the emotional distance generated by her ambition. Though she secures Neferure’s future with a grand palace, Hatshepsut mourns her lost maternal role, reflecting she “simply want[s] to be [Neferure’s] mother” (265). Millennia later, aristocratic bankruptcy forces Eve to navigate a similarly fraught intersection. Porchey informs Eve of their impending ruin, explaining Highclere Castle’s rapid art sales. Overhearing Lord Carnarvon insist Porchey cannot marry the penniless Catherine Wendell because love cannot sustain an estate, Eve realizes her family’s patronage is collapsing. This economic precarity transforms her archaeological pursuit from an intellectual rebellion into a desperate race, underscoring how women’s ambitions are treated as expendable indulgences while advantageous marriages are demanded for familial survival.



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