A History of Iran: Empire of the Mind
Michael Axworthy
Ian Shaw shows how to read the evidence of ancient Egypt, from hieroglyphs and royal art to mummies and DNA, and how to tell a diverse, life-loving civilization apart from curses, aliens and myth.

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If your picture of ancient Egypt comes from mummy films and curse stories, you hold the fantasy, not the civilization. In Ancient Egypt: A Very Short Introduction, Liverpool archaeologist Ian Shaw starts from a sharper point: nearly everything we know reaches us through filters. Tombs survived far better than traces of everyday life, so a people fond of feasting and music can look obsessed with death. Writing came mostly from the elite, and royal art may have been used to project power.
Shaw’s argument is that ancient Egypt only comes into focus when you ask who made each piece of evidence and why, and that even then we stay outsiders looking in. He moves from a carved slab found in 1898 to DNA taken from mummies, and from a female king shown with a beard to the people who credit aliens with the pyramids. Along the way you pick up a method for any museum case, documentary or viral claim about Egypt: work out what the evidence can actually carry.
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A single carved stone dug up in 1898 holds kings, captives and some of the earliest hieroglyphs we know of. Behind it lies a much older story, and a climate that saved the evidence while also bending it.
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For fifteen centuries nobody on Earth could read a word the Egyptians wrote. Once the script was cracked, it turned out to be stranger than expected, and some tombs avoided the sign for movement, even erasing the legs from birds, for protection.
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A king strikes his enemy while a falcon-god watches from the same scene. Was this sincere faith or careful image management? A female ruler shown with a beard makes the question hard to dodge.
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Modern arguments about what the Egyptians looked like assume they saw themselves as one people. DNA from more than 150 mummies and a tomb shared by two royal servants suggest a very different picture.
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The Egyptians are remembered as a gloomy people fixated on death. Their tomb walls tell a livelier story, yet a murdered king’s myth still sent generations of embalmers to work with knives and jars.
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Most Egyptians probably saw their gods’ images only a few days a year. That secrecy, together with a creation myth that has embarrassed scholars for centuries, changes what an animal-headed statue really tells us.
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Joseph’s grain stores, a vault against Noah’s flood, a lost super-race, visitors from space: the pyramids have attracted every kind of theory. Shaw argues the strangest ones carry an ugly assumption.
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Shaw’s Egypt is a civilization seen through a row of keyholes. The sand kept the tombs and lost the kitchens. The scribes wrote for gods and kings, and the farmers left almost no words. Royal portraits were made to impress, and the modern imagination adds its own layer of curses and aliens. Each keyhole shows something real, and each one hides something too.
What remains is a people both familiar and strange. They chased power and fought to keep it, they feared death and searched for a way past it, and they wrestled with the same large questions we still ask. Their answers, from the cult of Osiris to the slitter and the pickler to the honored phallus of Min, are foreign enough that Egypt can seem unreal.
The habit worth taking from Shaw is his own. In front of a museum case, ask who made the object, for whom, and what failed to survive beside it. When a claim about Egypt sounds thrilling, check whether it quietly assumes Africans could not have done the work. And keep some humility. However much we learn, we will never know what being Egyptian felt like. We stand outside, looking in, and the view is still worth the effort.
Ancient Egypt is everywhere in popular culture: cursed archaeologists, mummies that walk, pyramids linked to aliens. Most people who know those stories know very little about the civilization itself, which flourished along the Nile for about three thousand years of pharaonic rule. Archaeologist Ian Shaw takes a clear-eyed approach. He works through the evidence piece by piece, starting with the carved stone known as the Narmer Palette and moving on to hieroglyphs, royal portraits, mummies, temple rituals and DNA, and he keeps asking what each source can and cannot tell us. Dry sand preserved the tombs, so a people who loved music and feasting can look obsessed with death. Writing came from the elite, so the lives of ordinary farmers barely appear. Royal art may be devotion or it may be propaganda. Readers come out with a working map of Egyptian kingship, identity, religion and burial practice. They also get a sharper habit for judging any claim about the ancient past, including the pyramid theories that Shaw argues rest on an old racist assumption about who could build great things.
Curious readers who know ancient Egypt mainly from films and documentaries and want the real picture.
Students and travelers who want a quick grounding before a course, a museum visit or a trip.
Anyone tired of pyramid conspiracy theories who wants evidence-based answers to give back.
Ian Shaw, born in 1961, earned his PhD at the University of Cambridge and works in Egyptian archaeology at the University of Liverpool, where he directs several archaeological projects in Egypt. Most of his fieldwork has been at el-Amarna, and he has also worked in the Valley of the Kings. More recently he has excavated mining and quarrying sites from several periods to study how craftsmen and laborers worked. He has written on ancient Egyptian warfare and edited major reference works, including The Oxford History of Ancient Egypt and The Oxford Handbook of Egyptology.
Listeners observe that while perspectives on the text's direction differ—with some listeners feeling it acts more as a guide to Egyptology than a standard history—it provides a stimulating perspective on how history is pieced together. They enjoy the author's clear delivery and his "tough honesty" about the shortcomings of archaeological data and expert analysis. Furthermore, listeners appreciate the analysis of how current cultural leanings and "Egyptomania" have impacted our understanding of the ancient world. They also point to the creative use of the Narmer Palette as a central theme, with one listener commenting that the book delivers a useful "roundup" of shifting excavation practices and modern academic debates.
Ian Shaw provides a brilliant, critical look at the field that I didn't know I needed. Most books on this topic are just repetitive lists of pharaohs, but this is a deep dive into the philosophy of archaeology. I loved the 'tough honesty' about what the archaeological record can and cannot tell us. It’s fascinating to see how much of our 'knowledge' is actually just modern interpretation. The discussion on how the Egyptians focused on the perpetuation of life rather than just death was a complete paradigm shift for me. Personally, I think the title is fine—you can't understand Ancient Egypt without understanding how we've constructed our view of it. This is a must-read for anyone who values scholarly depth over simple storytelling.
Show moreAfter hearing that this was mostly about Egyptology, I was actually more excited to read it. We have enough books that tell the story of the Great Pyramids, but very few that explain how we actually know what we think we know. Shaw’s straightforward style makes complex ideas about ethnicity, race, and gender in the ancient world very accessible. I found the focus on the Narmer Palette to be a genius way to ground the abstract theories in a physical object. It’s a small book that packs a massive punch. Not gonna lie, I was impressed by how much ground he covered in so few pages. It challenges your biases and leaves you wanting to explore the many websites he recommends at the end. Five stars!
Show moreFinally got around to reading this, and I have mixed but mostly positive feelings. Unlike many popular histories that treat the past as a settled story, Shaw highlights the points of scholarly disagreement and the shifting methods of excavation. It’s a sophisticated look at a complex subject. I found the analysis of the Narmer Palette to be a clever, if slightly repetitive, way to tie various themes together. The writing is accessible and avoids overly dense jargon, which I appreciated. My only real complaint is that it sometimes feels like it’s skirting around the actual social structures to talk about the study of those structures. Still, it’s an intellectual exercise that made me think more critically about how we 'invent' history.
Show moreThe chapter on religion and the cult of Osiris was the highlight for me. Shaw manages to explain the complexities of Egyptian gods without getting totally bogged down in the details. What makes this book stand out is its 'tough honesty' regarding the limitations of our data. He doesn't just give you facts; he shows you why those facts are often debated or misinterpreted by modern scholars. Look, if you want a list of kings and dates, you will be disappointed. But if you want to understand the intellectual framework of Egyptology, this is excellent. It covers everything from ethnicity and gender to the way the state perpetuated itself over thousands of years. It’s a dense but rewarding little book for the curious mind.
Show moreWhat a fascinating, if somewhat mislabeled, introduction. Instead of a standard timeline, Ian Shaw gives us a 'roundup' of the major issues facing researchers today. I particularly liked the section on how we’ve used Egypt to meet our own contemporary needs, which was quite thought-provoking. The way he deconstructs common stereotypes about 'oriental despots' shows a lot of academic rigor. Sentence by sentence, the prose is lean and efficient. He doesn’t waste words. I did feel that the connection to the Narmer Palette got a bit thin toward the end, but as an organizational tool, it mostly worked. It’s a great choice for someone who already knows the basics and wants to dive deeper into the methodology of the craft.
Show moreThis book is essentially 'Egyptology 101' disguised as a history book. If you go in with that mindset, it’s actually quite a decent read. Shaw does a great job explaining why our view of the Pharonic era is so skewed toward death and funerary rites, mainly because that’s what survives. He challenges the idea that they were a death-obsessed culture, which was an eye-opener for me. However, the lack of a systematic narrative makes it hard to follow if you don't already have a baseline knowledge of the dynasties. The list of websites at the end is a nice touch, replacing the usual bibliography. Not exactly what I wanted, but I learned a few things about the reality of archaeological research.
Show moreEver wonder how much of what we 'know' about the past is just a lucky guess? That’s the core question Ian Shaw tackles in this slim volume. He is refreshingly honest about the massive gaps in our knowledge and how little the archaeological record actually reveals about the 3,000-year history of the region. I appreciated the discussion on how modern culture—what he calls 'Egyptomania'—shapes our perceptions of these ancient people. Still, the book feels a bit disjointed. One minute we’re talking about hieroglyphs, and the next we’re discussing the impact of Ancient Egypt on current media. It’s a bit of a mixed bag. It’s more of a 'state of the field' report than a chronological history. Useful, but definitely dry in spots.
Show moreWait, where is the history? I picked this up for a quick refresher on Egyptian dynasties, but Ian Shaw spends most of the time talking about 'Egyptomania' and the way we've reconstructed the past through a modern lens. While the chapter on the Narmer Palette was somewhat interesting as a focal point, using it as a recurring anchor felt forced after a while. To be fair, Shaw’s writing style is straightforward and clear, but the content just isn't what the cover promises. It is much more concerned with the 'how' of archaeology than the 'what' of the actual time period. I found myself bored by the constant talk of excavation methods. If you're looking for a simple timeline, this isn't it.
Show moreAs a casual reader, this was a slog. I’ve enjoyed other books in the Very Short Introduction series, but this one misses the mark for a general audience. Instead of painting a vivid picture of life along the Nile, Shaw provides a meta-commentary on the field of Egyptology. Truth is, I don't really care about the academic infighting or the 'tough honesty' regarding what we don't know. I wanted to learn what we DO know. The book feels incredibly skeptical and almost defensive about the political biases in the field. It’s too focused on the philosophy of history. By the time I finished, I felt like I had learned more about 20th-century professors than ancient pharaohs. Disappointing.
Show moreDon't be fooled by the title like I was. I expected a sweeping narrative of pharaohs and pyramids, but instead, I got a dry lecture on the science of Egyptology. The book focuses almost entirely on how archaeologists dig things up and interpret broken pottery rather than telling the actual story of the civilization. Frankly, it’s frustrating to pick up a book called 'Ancient Egypt' and find out it's mostly about the people studying it today. There is way too much emphasis on scholarly disagreements and the limitations of the archaeological record. If you want to know who Ramses II was or how the common people lived, look elsewhere. This felt more like a syllabus for a college course on historiography than an introduction to a fascinating culture. Total letdown.
Show moreIan Shaw argues that what we know about ancient Egypt reaches us through filters. Dry conditions preserved tombs far better than homes, writing came from the elite, and royal art may have served as propaganda. By asking who made each piece of evidence and why, he builds a picture of a diverse, life-loving civilization, while admitting that we will always remain outsiders looking in.
Shaw thinks not. Many tombs show people making wine, playing music, dancing and feasting. We link Egyptians with death mostly because their tombs survived so well, while traces of daily life are scarce. Followers of the cult of Osiris did invest heavily in mummification, since they believed the spirit needed a preserved body to reach the afterlife.
Shaw argues that race is the wrong frame, since sorting people by physical type is a fairly modern invention. A 2017 study of DNA from more than 150 mummies found genetic links to both Near Eastern peoples and sub-Saharan Africans, and surviving portraits show varied skin tones and styles. Egyptian identity, he concludes, probably rested on culture and language.
The Egyptians did. Shaw reviews theories ranging from Joseph’s granaries and a vault against Noah’s flood to a lost super-civilization and aliens, and rejects them all as fantasies. He sees a racist assumption in them, that an African people could not have built something so sophisticated. He suggests the shape was picked since it offers the soundest structure for building a monument both tall and durable.
The Greek historian Herodotus describes two workers. The slitter cut the body open and removed the internal organs. The pickler let the organs dry, put them in jars and then wrapped them together with the rest of the body. The practice drew on the myth of Osiris, whose scattered body his wife Isis reassembled to make the first mummy.
Michael Axworthy
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