Night Train to Memphis

Acknowledgments

AT THE RISK of sounding like a giddy young first-published author who thanks everybody except the electrician, I must acknowledge the assistance of many friends and friendly experts in writing this book. I couldn't have got myself or Vicky to Amarna without the help of Dennis Forbes, editorial director of K. M. T. (A Modern Journal of Ancient Egypt), and that journal’s special projects editor, George B. Johnson. They were mines of information and the most congenial of fellow-travellers. Kent Weeks of the American University in Cairo good-naturedly informed me that I couldn't possibly get Vicky away from Amarna via the route I had proposed, and suggested an alternative. Peter Dorman, director of the Oriental Institute’s Epigraphic Survey, and his wonderful crew at Chicago House fed me, instructed me, entertained me, and dragged me up and down the cliff of the West Bank searching for an imaginary tomb. Practically everybody connected with the American Research Council in Egypt amiably endured my pressing inquiries and pervasive presence: Terry Walz, executive director; Mark Easton, Cairo director, and Mark’s associate Barbara Fudge and Amira Khattab. To all of them, my affectionate thanks.

The basic inspiration for the book came from an earlier trip to Egypt and the two friends who accompanied me on a Nile cruise. One couldn’t ask for more delightful companions than Charlotte and Aaron Elkins, and there is no truth whatever to the rumour that I stole my plot from Aaron. I tried, but he was too clever for me.

The title of the book originated while I was meeting with a group of fellow mystery writers. This group convenes each year, purportedly for the purpose of carrying on professional discussions, and we actually were carrying on a professional discussion when I asked plaintively, ‘What the Hades am I going to call this book?’ The answer came, as it usually does, from Sharyn McCrumb. I thought it was a great title, but I failed to recognize the source; my ignorance prompted Sharyn to lecture me on the subject of country-western music and to supply me with various research materials. As a result I am now a convert, which may explain some of the esoteric references in this volume. I would offer a prize to the reader who can spot the most songs, except I’m sure Sharyn would win it.

Sharyn is also the author of ‘You’re a Detour on the Highway to Heaven,’ in which endeavour she acknowledges some assistance from Joan Hess and Dorothy Cannell. Joan and Dorothy claim the assistance was considerable, amounting to actual collaboration. I have no further comment to make on this subject, except to say that my debt to these writers and the other non-members of the organization to which they and I belong is profound.

None of the individuals mentioned is responsible for any errors I may have made in recording the information they gave me. The views expressed are those of the characters, who are, I hardly need say, entirely fictitious. The tomb of Tetisheri is also fictitious. For reasons that should be apparent I could not use an actual, known tomb, so I invented one. (A real tomb of Tetisheri may yet be found, though such an eventuality is, in my opinion, unlikely. If this happens, bear in mind it isn’t the same tomb as mine.) The particular Fourth Dynasty cemetery at Abydos to which I have referred is also apocryphal. I think. One never knows what is going to turn up in Egypt.

There are, of course, many museums in Cairo. The proper name of the one to which my characters constantly and carelessly refer is The Egyptian Museum.

Vicky’s comments on the problems of conservation faced by overworked and underfunded antiquities organizations are unfortunately only too accurate. The problem is acute; positive, public support is badly needed, especially for organizations such as the Epigraphic Survey, which for many years has concentrated on making accurate copies of fading reliefs and inscriptions. If we cannot preserve all the monuments – and we cannot – we can at least record them before they vanish forever.