Sec Notter et al. 1988passim, cspccially plate 64 (page 102); plates 178-81 (pages 180-1).
Notter et al. 1988, plate 24. Unfortunately, the whereabouts of Anciennes religions disparues is now unknown and the quality of the plate in Nottcr's catalogue is too poor to reproduce.
My translation from Moindre's text of a long spirit communication dated 1952, quoted in Dubuffet 1965b: 112-13 (Dubuffet mistranscribed Amenophis IIII as Amenophis II). French popular books on ancicnt Egyptian art from the 1920s and 1930s often refer to Akhenaten as Amenophis IV (e.g. J. Capart, Lepns sur I'art egyptien (1920)), so Lesage and Moindre may be using this convention.
Besant 1991: it is not clear from the book how long she continued to receivc messages from him. 'Maisie Besant' may be a pseudonym honouring Annie Besant, president of the Theosophical Society from 1907 to 1933.
Besant 1991: 28.
Ibid: 56.
Steiner [1919] 1985: 3-18.
Blavatsky 1888 II: 1.
Its latest incarnation is Graham Hancock's Fingerprints of the Gods (1995). On the antiquity of the Pyramids denied by Egyptologists, sec Blavatsky 1888 I: 432 and 1888 II: 429-32. Roth 1998: 220-2 discusses the importance of television documentaries in fuelling theories about Atlantis and Egypt.
See Washington 1993: 163-7; Roth 1998: 220.
Rolfe 1976: 144, 145-56; see also 104, 106. It may or may not be significant that the detail of Nefertiti's fatal heart disease appears in several of the Amarna novels, such as Merezhkovsky [1924] 1927.
Rolfe 1976: 99, 103, 105, 115, 30.
Saakana 1988: introduction (unpaginatcd).
James 1954: 177-8. For other versions of the black Moses, see e.g. Albert Cleage, quoted in Van Deburg 1997: 233-4.
On Farrakhan generally, see Singh 1997; Gardell 1996.
'Time Must Dictate Our Agenda', in the Nation of Islam newspaper The Final Call, 11 May 1989, quoted in Gardell 1996: 154.
See Gardell 1996: 176-81.
From Farrakhan's speech at the Million Man March, 16 October 1995. Incidentally, the Aten-disc often has nineteen rays (as on the famous window of appearances scene from the tomb of Parennefer) but twelve, fifteen and twenty-one rays are just as usual.
From Farrakhan's speech at the Million Man March, 16 October 1995; quoted in Magida 1996: 195.
Asante 1992: 156.
Ginzburg 1980: 51.
6 Literary Akhenatens
Interview with Tom Holland, London, 24 October 1997.
Forster [1927] 1962: 168.
Grimm 1992 and 1993.
Alcott's Lost in a Pyramid, or the Mummy's Curse (1869); Stoker's The Jewel of Seven Stars (1904); Doyle's Lot No. 249 (1892).
Eckenstcin 1924: 74.
Mcrczhovsky [1924] 1927; Stacton 1958; Maiden 1949; Vidal [1961] 1965; Hawkes 1966, etc.
Phillpotts 1926; Strunsky 1928; Berry 1938; Morrison 1938; Clarke Wilson 1948; Gill 1991.
Sec e.g. Berry 1938 and Strunsky 1928, where the protagonists are respectively a wax- modeller and a scribe. Of course these elements are all present in fiction written about ancient Egypt before the Amarna period was widely known (e.g. Batty 1890), as were conflicts between religion and state (e.g. Glovacki 1902).
'Patty' in Strunsky 1928, 'Rita' in Merezhkovsky [1924] 1927.
Stuart 1879: 169.
Herbertson 1890: 11.
Rawnsley 1894: 93-4.
Weigall 1923; Julie Hankey will discuss this incident fully in her forthcoming biography of Weigall. Bagnall, Rider Haggard and Lorimer all wrote to Weigall acknowledging how much his book had influenced them: again I am grateful to Mrs Hankey for showing me this correspondence in her family archives.
Such as Mrs James in the Grossmiths' Diary of a Nobody: Grossmith and Grossmith [1892] 1975; 213.
Rider Haggard 1912: 10.
Washington 1993: 5-25.
There are many examples: perhaps the best known arc Marie Corelli, ^'iska (London: Simpkins, Marshall, 1897); Florence Brooks Whitchousc, The God of Things (Boston, MA: Little, Brown, 1902); Florence Barclay's hugely successful The Rosary (London: Putnam's, 1909), still in print in the 1950s.
Lorimcr 1913: 25.
Ibid.: 70.
Ibid.: 218.
Ibid.: 314.
Lorimer 1918: 31.
Ibid.: 221.
Bell 1923: 222-3.
Ibid.: 227.
Wyke 1997:91.
Like many directors at this time, Earle reconstructed antiquity from nineteenth-ccntury classical and Orientalist paintings, which are themselves often based on novels. Sacrificing a virgin to the Nile is a theme both in art and in literature (e.g. the painting by Federico Faruffini (1831-69) illustrated in Humbert etal. 1994: 384-5), and in the Egyptian novels of Georg Ebers.
Corlett 1923: 235-6. The writer of this review, Dudley S. Corlett, was also interested in the occult and wrote The Magic Art ofEgypt' (1923).
Corlett 1923: 239.
Steinberg and Khrustalev 1995: 163-4, quoting Nicholas' diary for 11 and 19 July 1917.
Rosenthal 1997: 17-19; 1975: 4, 110.
Steinberg and Khrustalev 1995: 22-3, 241, 244; for a good summary see Klier 1995: 78-86.
Merezhkovsky [1924] 1927: 145.
Ibid.: 201.
Ibid.: 309.
Ibid.: 242-3.
Morrison 1938: 360.
Berry 1938: 187.
Osborne 1982: 100-1. See Morgan 1985: 212-13, 226. Christie wrote that TheDawn of Conscience was 'one of the books 1 had been fondest of (Christie 1977: 511).
Christie 1973: 77-8.
For The Egyptian, see Solomon 1978.
Slochower 1938, especially 55-61.
Fast 1990: 300-1.
Hawkes 1967: 174.
See Shohat and Stam 1994: 153.
Stewart's (1995) novel does take the concept of an alien Akhenaten seriously.
There is an excellent discussion of Mahfouz's use of Akhenaten by Pinault 1995; see also Hassan 1998: 203, 206. For a treatment of Akhenaten by an Egyptian poet, see Abou Hadid 1973.
Pinault 1995: 26 and 31 with footnote 3.
Stacton 1958: 15.
Ibid.: 40, 45, 166, 169.
Porter 1992: 122.
7 Sexualities
Strachey 1939: 7.
See Arnold 1996: 91, who suggests that the stela shows Akhenaten and Amunhotep III, or less probably Akhenaten and Nefertiti.
Mann [1943] 1978: 932-3. See Grimm 1993: 42-64, especially 58-9.
Dyer 1993: 73 92, especially 76-9.
Newberry 1928: 7.
Waters 1995, especially 229.
Bristow 1995: 147. In Firbank's The Flower beneath the Foot (1923), for instance, the male object of desire, the Hon. 'Eddy' Monteith, is consistently compared to 'Rameses' as a sort of generic pharaoh.
Hollinger 1995: 126.
http://www.starbasc21.com/ATONS/ourname.htm. The Atons may be contacted at PO Box 580517, Minneapolis, MN 55458-0517, USA.
Conner et al. 1997: 47.
Hollinghurst 1988: 76.
Ibid.: 154. For an interesting reading of the novel's relevance to gay history see Chambers 1993.
Bergman 1993: 4-5.
E.g. Hamilton 1980 and Holland 1998.
This account of the development of Akenaten is drawn from Jarman 1996: 3-4.
Ibid.: 40 - compare Velikovsky 1960: 137. Original text in Gardiner 1957: 19-20.
Sec Meskell 1998a: 66-75 on Stargale, where some of the imagery of the pharaoh 'Ra' seems to be influenced by images of Akhenaten. For Orientalism and outing see Apter 1996.
Jarman 1996: 3.
Catherine Bennett, writing in The Guardian, 9 April 1992, quoted in Chedgzoy 1995: 185.
Chedgzoy 1995: 180.
Jarman, quoted in Chedgzoy 1995: 216 (letter to The Independent, 20 May 1993).
Frandsen 1993: 262-3. A fuller version of this article is being developed in Frandsen's forthcoming book about Egypt and opera, which promises to be definitive.