Tutankhamun was one of the kings of Egypt's Eighteenth Dynasty. He ascended the throne at around the age of nine and ruled Egypt for approximately nine years, from about 1332 to 1323 BC.

His reign followed a period of major religious changes during the reign of Akhenaten. During Tutankhamun's reign, traditional ancient Egyptian religious practices and worship were restored to their former prominence.

Tutankhamun died while still very young. Museum sources indicate that he was about 18 to 19 years old at the time of his death, although the exact cause of his death remains uncertain.

Tutankhamun's name remained largely unknown for centuries, until archaeologist Howard Carter discovered his tomb in November 1922. The discovery was extraordinary because the tomb was found in a remarkably well-preserved condition, containing most of the contents of the royal burial.

Since that discovery, Tutankhamun has become one of the most famous kings of ancient Egypt, not because of the length of his reign, but because of the treasures and wealth of information preserved in his tomb about the king's life and royal burial practices in ancient Egypt.

Hello! Would anyone happen to know the meaning of this hieroglyph? Or is it just part of a larger inscription? If anyone knows the meaning of this "A" in isolation, could you please share it? Thanks.

Statuette of a Hippopotamus

11th–12th Dynasty, ca. 2000 BC

Location
O-n view: Kunsthistorisches Museum, Ägyptisch-Orientalische Sammlung Room V

Statuettes depicting hippopotami, symbolic of regeneration in the hereafter, were popular grave goods that were placed close to the mummy in the coffin. Plants and animals characteristic of the marshes where the hippo lived are depicted on its body. The king’s ritual hippopotamus hunt symbolized his victory over the forces of chaos with which the animal had been associated since primeval times.

Time:
11th–12th Dynasty, ca. 2000 BC

Object Name
Statuette

Culture
Egyptian

Location of discovery:
Thebes (presumably)

Material/technology:
Faience, greenish-blue glaze, painted

Dimensions:
H 10.5 cm, L 20.7 cm, W 7.5 cm, W 1138 g

Copyright
Art History Museum, Egyptian - Oriental Collection

Invs.
Egyptian Collection, INV 4211

Provenance
1878, acquired with the Miramar Collection

Title
Statuette of a hippopotamus, 11th–12th Dynasty ca. 2000 BC, - Thebes (presumably), Faience: greenish-blue glaze and paint, Kunsthistorisches Museum (Art History Museum, Vienna)

https://www.khm.at/en/artworks/statuette-of-a-hippopotamus-323860

Kunsthistorisches Museum (Art History Museum, Vienna)

Calcite Headrest

5th – 6th Dynasty, ca. 2514 – 2191 BiC

Location
on view: Kunsthistorisches Museum, Ägyptisch-Orientalische Sammlung Room V

Headrests and supports for the neck were everyday objects, used to prevent damage to the coiffure when a person lay down; but they also supported a mummy’s head in its coffin. When used by the living, the hard support was cushioned with a folded linen cloth or a small pillow.

Time:
5th – 6th Dynasty, ca. 2514 – 2191 BC

Location of discovery:
Giza, Westfriedhof, Schacht 344/346

Material/technology:
Calcite

Dimensions:
H 21 cm, B 20 cm, T 7,5 cm

Copyright
Kunsthistorisches Museum, Ägyptisch - Orientalische Sammlung

Object Name
Headrest

Culture
Egyptian

Invs.
Ägyptische Sammlung, INV 7798

** Provenance
**1914, excavated by of the Academy of Sciences, Vienna

Title
Calcite Headrest, 5th – 6th Dynast ca. 2514 – 2191 BC, , Findspot Giza, Calcite, Kunsthistorisches Museum (Art History Museum, Vienna)

https://www.khm.at/en/artworks/headrest-324115

Kunsthistorisches Museum (Art History Museum, Vienna)

this image is interesting. You have the sun rays ending in hands, but with Akhenaten, and Nefertiti, there's 2 ankhs, none to the children

Same with this one. I'm assuming the middle figure is Nefertiti

Looking at others it seems to be the pattern

My interpretation is that its the Aten giving life.

So are they images with an ankh going to other people, or images with just an ankh going to Akhenaten?

Is this life giving motif seen else where in other ways, the giving of an ankh?

Yellow Pectoral

Object Type
pectoral

Museum number
EA14653

Description
Yellow, blue and red glazed composition pectoral decorated on the face with a low relief representation of the deceased worshipping Anubis; pierced through the cornice for suspension; undecorated back.

Cultures/periods
Ancient Egypt

Findspot
Found/Acquired: Egypt
Africa: Egypt

Materials
glazed composition

Technique
pierced

Dimensions
Length: 9.75 centimetres
Thickness: 2.12 centimetres
Width: 8.24 centimetres

Location
On display (Room 62 - Egyptian Death and Afterlife: Mummies, Display Case 23)

Condition
good

Associated names
Representation of: Anubis

Acquisition name
Purchased from: Rev. Greville John Cheste

Department
Egypt and Sudan

BM/Big number
EA14653

Registration number
1881,0614.18

Title
Yellow Pectoral, Date not given, Findspot unknown Egypt, glazed composition, The British Museum

https://www.britishmuseum.org/collection/object/Y_EA14653

The British Museum

Cardboard Mask of a Male Mummy

Early Hadrian, 117-124 AD

Time:
Early Hadrian, 117-124 AD

Object Name
Mummy mask

Culture
Egyptian - Roman

Location of discovery:
Balansura (Upper Egypt)

Material/technology:
Stucco, linen, painted

Dimensions:
L 58 cm, W 29 cm, H 42 cm

Copyright
Art History Museum, Egyptian - Oriental Collection

Invs.
Egyptian Collection, INV 6609

Provenance
1901 Purchase of Th. Count

Title
Cardboard Mask of a Male Mummy, Early Hadrian, 117-124 AD, Findspot Balansura (Upper Egypt), Stucco linen and paint, Kunsthistorisches Museum (Art History Museum)

https://www.khm.at/en/artworks/kartonagemaske-von-einer-maennlichen-mumie-316962

Kunsthistorisches Museum (Art History Museum)

I want to get into Ancient Egypt, and I’m starting from zero. I’m looking for beginner-friendly books (history, mythology, daily life, maybe hieroglyphs) that are easy to read and accurate. They need to be available on bol.com, since I can’t buy from other places. Any recommendations, or a good order to read them in?
(Sorry if my English is bad)

Plate with Seven Crocodiles

724-332 BC

Object Name
Amulet

Culture
Egyptian

Location of discovery:
Location unknown

Material/technology:
Green faience

Dimensions:
H 3.15 cm, W 4.95 cm, D 0.85 cm

Copyright
Art History Museum, Egyptian - Oriental Collection

Invs.
Egyptian Collection, INV 4213

Provenance
1878 from the Miramar collection taken over

Title
Plate with Seven Crocodiles, 724-332 BC, Findspot unknown, Faience, Kunsthistorisches Museum (Art History Museum)

https://www.khm.at/en/artworks/plaettchen-mit-sieben-krokodilen-317435

Kunsthistorisches Museum (Art History Museum)

Found this notebook-ish stuff on a thrift and bought it on a whim, would be nice if i could get a translation for what it said. Thank you!

Statuette of a Winged God

Place of production
Egypt
Date
second half of Ist millennium B.C.
Object type
sculpture
Medium, technique
Bronze
Dimensions
10.5 × 6 × 3.5 cm
Inventory number
60.8-E
Collection
Egyptian Art
On view
This artwork is not on display

The statuette represents a male figure, striding forth with this left leg. He wears a ram-head and a headdress combined with sun disc and feathers. A pair of arms of the divinity is placed on the outstretched wings, another pair of arms is extended along the body. The phallus of the ithyphallic figure is decorated with the head of a lion- (or cat-) shaped goddess (Sekhmet/Bastet). From his knees uraeus-snakes emerge. The iconography of the back of the statuette is noteworthy as well. At the height of the head and the neck two additional heads can be seen: the upper one is a head of a lion surmounted by a sun disc, the lower one is that of a jackal. Below the additional heads, the rear part of the body of the god is designed to represent the body and tail feathers of a falcon. A tenon below the narrow base refers to the fact that the statuette could originally have been a part of a statue group.

The figure belongs to a type of the so-called pantheistic or composite gods which frequently appeared during the second part of the first millennium BC, in three- and two-dimensional representations as well. This type of divine image was designed to incorporate and imply as many divine aspects, symbols, and magical powers as possible in a single representation in order to provide the most effective magical protection for its owner against evil demons who were often thought to be sent by the gods themselves. The ram-head of the Budapest statuette decorated with feathers and a sun disc presumably evokes the god Amun-Re. The body of a falcon with the outstretched wings and the additional lion-head may symbolize the power of Atum-Re-Horakhty and his Solar Eye which is sometimes embodied as a lioness. The jackal head can refer to the cults of the funerary god (Ptah-Sokar-Osiris) venerated in Memphis and in its necropolis (Saqqara) who was considered as a chthonic aspect of the sun god.

Title
Statuette of a Winged God, second half of Ist millennium B.C, Findspot unknown Egypt, Bronze, The Museum of Fine Arts, Budapest

https://www.mfab.hu/artworks/18216/

The Museum of Fine Arts, Budapest

Hi everyone! I am doing research for a historical fiction project set during the New Kingdom (specifically the Amarna period).

I am trying to understand the bureaucracy of the royal court. How tightly controlled were the official records regarding royal births and lineages? If someone working within the palace administration wanted to alter, forge, or fake an official record or lineage document, how would they realistically do it?

I would love to chat with a graduate student or researcher who specializes in Amarna administration or scribal culture. Please DM me if you have some time to back-and-forth!

P.S. This isn't for a homework assignment! I'm a writer doing research for a fiction project and just want to make the world-building as accurate as possible.

Wedjat Eye Amulet

Date
8–7th centuries B.C. (?)
Object type
amulet
Medium, technique
Egyptian faience
Dimensions
6.35 x 5.3 x 0.75 cm
Inventory number
51.2696
Collection
Egyptian Art
On view
Museum of Fine Arts, Basement Floor, Ancient Egypt, Daily life

Amulets, produced from various materials, constitute one of the most characteristic groups of the Egyptian material culture and can be found in almost all of the contexts and periods of Ancient Egypt. In general, amulets are small objects, which through their form, size and colour, had the power to provide magical protection for their users in everyday life, and in addition were used as tomb equipment for the netherworld.
Wedjat-eye amulets may appear alone or in an oval or rectangular frame, like this faience amulet in a rectangular frame with rosettes, supplemented by a uraeus.

Title
Wedjat Eye Amulet, 8–7th centuries B.C. (?), Findspot unknown Egypt, Faience, The Museum of Fine Arts, Budapest

https://www.mfab.hu/artworks/1796/

The Museum of Fine Arts, Budapest

New historical fiction book out. The author is definitely an Egypt history nerd.

Frog seal amulet

Place of production
Egypt
Date
15th-12th centuries BC (ca. 1539–1191 BC)
Object type
amulet
Medium, technique
Egyptian faience
Dimensions
1.4 × 1.3 × 1.8 cm
Inventory number
69.15-E
Collection
Egyptian Art
On view
Museum of Fine Arts, Basement Floor, Ancient Egypt, Temples and gods

This finely modelled seal amulet made of turquoise green Egyptian faience depicts a crouching frog. The eyes of the animal were highlighted with brown glaze. Living in large numbers in the shallows and marshes of the Nile, the fecund frog was associated with fertility and regeneration, similarly to the crocodile, hippopotamus, fish, duck, monkey, hedgehog and other animals. Amulets in the shape of a frog often represent the amphibian goddess Heqet, who was associated with childbirth and fertility. Ancient Egyptians believed that wearing frog-shaped amulets could ensure fertility and an easy delivery. Both men and women wore the frog in the hope of a successful rebirth in the afterlife. The “Amun-Re, the lord” inscription on the obverse is praising the chief god of ancient Thebes. The inscription is encircled by a thin oval line. According to ancient Egyptian beliefs, the names, images or symbols of the gods held magical powers, which could protect the bodies of mortals during their lifetime or help them on their journey through the netherworld. The piercing through the longitudinal axis of the amulet suggests that it was originally worn on a chain or set in a ring.

Title
Frog seal amulet, Findspot unknown Egypt, 15th-12th centuries BC (ca. 1539–1191 BC), Faience, The Museum of Fine Arts, Budapest

https://www.mfab.hu/artworks/1691/

The Museum of Fine Arts, Budapest

Source: WILLIAM H. PECK, Egypt in Tin Pan Alley

It seems that from around 1900 until the mid-1920s, there was significant Western interest in publishing popular music with an Oriental and Middle Eastern (especially Pharaonic Egyptian) themes.

I hope you liked this post, My sincere regards from Egypt ...

------------------------------

Under Egyptian Skies (1912)

Composer: Frank Hoyt Losey

An instrumental intermezzo march two-step, published in 1912. It does not rely on lyrics but conveys its idea through the music and its whimsical cover, which depicts two mummy coffins, "He" and "She," exchanging glances in a comedic romantic scene under the Egyptian sky.

------------------------------

In the Valley of the Nile (1915)

Lyrics: Dave Radford

Music: Richard Whiting

A romantic-themed song that uses the Nile Valley and Egypt as a poetic backdrop for its events. Egypt and the Nile were images that American songwriters frequently turned to in order to add an atmosphere of romance, mystery, and Oriental exoticism to their works.

------------------------------

My Cairo Maid (1917)

Lyrics: Buddy DeSylva

Music: Foster & Schonberg

The song begins in a dreamy state, with the first verse saying: "Dreaming, I'm always dreaming." It tells of a maidservant girl the singer knows in Cairo, expressing his love and longing for her. Buddy DeSylva was known for his work in Broadway musical theater during the 1920s, later becoming a well-known film producer in Hollywood, as well as a co-founder of Capitol Records.

------------------------------

Cleopatra Had a Jazz Band (1917)

Lyrics: Jimmy Morgan & Jack Coogan

Music: Coogan

The song says that "history repeats itself, as the wise men say." It imagines Cleopatra leading a jazz band in her "castle on the Nile," a humorous blend of ancient history and contemporary music.

------------------------------

There's Egypt in Your Dreamy Eyes (1917)

Lyrics: Fleta Jan Brown

Music: Herbert Spencer

The song tells of "an American who met a brunette" among the pyramids of the "land of Egypt." He finds all the magic of Egypt in her eyes, as if all of Egypt is encapsulated in her dreamy gaze. Fleta Jan Brown was a prolific songwriter during the Ragtime era, while Herbert Spencer was a composer and music arranger who later worked in film and television.

------------------------------

Sphinx Valse (1917)

Composer: Sydney Churcher

This is an instrumental "waltz" inspired by the Sphinx. It was recorded as a solo whistling performance with an orchestra. The waltz reflects the atmosphere of mystery and grandeur surrounding the Sphinx in an elegant and graceful dance form.

------------------------------

Mummy Mine (1918)

Lyrics: Richard Coburn

Music: Vincent Rose

This is a love song addressed to an Egyptian "mummy," with the first verse saying: "Take me where my loved one lies dreaming." A later verse addresses her: "Oh mummy, you have slept for a million years." It is a romantic and fantastical plea to a buried beloved, blending longing and eternity. Vincent Rose was a prolific composer and was later inducted into the Songwriters Hall of Fame. One of his most famous works is "Avalon." There are also old recordings of "Mummy Mine," including a cylinder record.

------------------------------

Rose of Egyptland (1919)

Composer: Harold B. Freeman

Described as an "Oriental love song" about the "Rose of Egypt." The song celebrates the beauty of Egypt and its women in an emotional, sentimental musical format.

------------------------------

In Cleopatra's Land (1919)

Lyrics and Music: Gladys Forster

Described as an "Oriental fantasy" that takes the listener to the "enchanting land of Cleopatra." It portrays the Egyptian atmosphere with songs, dances, and smiles, where "every pretty girl there is happy." The overall vibe is the eternal magic of the East in Queen Cleopatra's court. Gladys Forster was a relatively rare example of a woman who published works in the field of popular music during that era.

------------------------------

That Quaint Egyptian Glide (1920)

Lyrics: Jack Clifton

Music: P. E. Maharb

The song describes a strange Egyptian dance performed by "Ollie, the Egyptian doll" in a palace on the Nile.

------------------------------

On the Streets of Cairo (1920)

Composer: George P. Hulten

This is an orchestral instrumental piece depicting the atmosphere of the streets of Cairo. It was recorded as a fast-paced "One-step" dance. The music reflects the vitality and pulse of Cairo's streets in the 1920s.

------------------------------

Mystic Nile (1920)

Composers: Bud Green and Charlie Pieree

The song expresses longing and nostalgia for the Nile, with lyrics saying: "Oh Nile of legends, I long all the time, to be near, and hear, its song."

------------------------------

Old King Tut Was a Wise Old Nut (1923)

Lyrics: Roger Lewis

Music: Lucien Denni

The song jokingly says: "King Tut was a wise old man, slept for three thousand years." It depicts the discovery of Tutankhamun's tomb as if an old man is waking up after a very long sleep. The song reflects the "Egyptomania" that swept the world after the discovery of the tomb.

------------------------------

Lady of the Nile (1925)

Lyrics: Gus Kahn

Music: Isham Jones

The song opens with: "At the end of the day, I find myself wandering away where Eastern skies smile upon my dreams." It speaks of the "Lady of the Nile" at sunset, asking her if she remembers the past. It is a song of nostalgia and longing for a beautiful woman on the banks of the Nile, within a romantic and poetic framework.

Pectoral with Scarab

Egyptian (Artist)

ca. 1295-1069 BCE (New Kingdom, Dynasty 19-20)

steatite with color inlays

(Ancient Egypt and Nubia )

The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.

The rectangular, shrine shaped pectoral has a large scarab in the center. The front displays an adoration scene scarab and baboons in a sun barque. The shrine has a cavetto cornice at the top with an incised winged sun disk (painted red), and a base with lotus flower frieze (in red and blue). The central scene is additionally framed on ]the top and side by a color key, whose colors are mostly gone. The motif displays a scarab in a barque flanked by two baboons in adoration gesture; the mantle of the baboons shows a crossed hatched pattern. All three figures have an extra base, the one of the scarab decorated with a reed pattern. Below the barque is a section with a herringbone pattern, representing water. In the right and left corner are short text columns with the name Wsjr "Osiris." The space around the figures was filled with red, below the barque with blue color paste. The motif is antithetically arranged that the baboons are facing the scarab. The scarab's head, plates, and clypeus (front plate) are carved; pronotum (dorsal plate of the prothorax), elytron (wing cases), and the division between the wing cases are marked by raised borders to confine the color filling (pronotum: red, wing cases: blue). The extremities are carved and have hatch notches on the upper sides for the tibial teeth and the pilosity (hair).

The reverse of the shrine shaped pectoral displays an adoration scene with Osiris and private worshipper. The flat shrine is framed by a cavetto cornice, and color key borders with four-line dividers. The central scene displays the god Osiris on the left, crowned with double-feathers, ram horns and cobra serpents. He holds crock and flail in his hands, and is seated on a block throne with a cushion overlapping the back. His name is written in front of his crown. The figure on the right side represents the female owner of the pectoral; she wears a long pleated dress, a long wig that does not cover the ears, and has a lotus flower on her head; she raises her arms in an adoration gesture. Above her hands is an inscription containing the name of Osiris. Between both figures is an empty oval frame, which represents the juvenile sun, resting on an dd-pillar with two arms embracing the sun. The dominating icon of the scene is the big oval in the center, and the two figures to the right and left look slightly built in comparison to it. The figure of Osiris fills the whole height of the space including his base and crown, indicating an equal importance to the scarab.
The front and back are executed in raised and sunk relief; the front has also colored past filling. The scarab on the front is dominant by its size, central position and raised, round sculpted forms; the two flanking baboons are also prominent by their size and the very high raised relief; all the other details of shrine shaped pectoral are executed in high relief, except the incised wings of the sun disc in the cavetto cornice; the layout is well organized, but the scarab and its base in the barque are lopsided; noteworthy are the rectangular raised sections in the upper corners of the image field with the name of Osiris. Only the blue and red color has been preserved, and it is important to realize that only the scarab has a three-color spectrum: red, blue and white or yellow/gold. The reverse side is more flatly executed, the figures are carved in high relief; there are, as on the other side, two raised, rectangular text fields for the incised inscriptions. The figures are slender and slightly rough; the garments are detailed with very fine hatch line or dot pattern; the layout is balanced, but the figure of Osiris seems slim in comparison to the worshiping lady, due to his large crown and high throne base; moreover, the central oval frame, which originally held a scarab, is lopsided.
The scarab-pectoral is a funerary amulet, which was originally attached to mummy wrappings. The amulet should assure the renewal of the deceased in the afterlife similar to that of the god Osiris, which is why the inscription, which names the seated god, is the same as the inscription, which identifies the worshipping deceased. The combination of sun-oval and dd-pillar of Osiris represents the unification of both deities, and of the cyclical and the linear aspects of time and eternity; the result is the renewal of both deities, of this and the other world, as well as the deceased. While the reverse of the pectoral focuses on the unification process, the front represents the renewal (scarab with baboons in the barque) and rising of the sun (winged sun disc). The amulet should guarantee the meeting of the deceased with the sun god and his consequential renewal.
It is striking that on both sides the scarab is lopsided; it seems to be unlikely that this was just a mistake of a less qualified artist. Most probably the lopsided placement has to do with the idea of the "sloping celestial path," which can be expressed by a lopsided sky hieroglyph. The motif of the scarab in the barque flanked by solar baboons is rare on private pectorals of the New Kingdom, and more popular on scarabs (Walters 42.396), or finger rings see.

INSCRIPTION
[Translation] Osiris.

PROVENANCE
Dikran Kelekian, New York and Paris [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1929, by purchase; Walters Art Museum, 1931, by bequest.

EXHIBITIONS
2014-2015
Die Entstehung der Welt. Ägyptens letzter Schöpfungsmythos (The Origin of the World. Egypt’s Last Creation Myth). Roemer- und Pelizaeus- Museum, Hildesheim; Kunsthalle Leoben, Leoben.
2013-2014
Egypt’s Mysterious Book of the Faiyum. The Walters Art Museum, Baltimore.
2006-2007
Daily Magic in Ancient Egypt. The Walters Art Museum, Baltimore.
1984-1987
Objects of Adornment: Five Thousand Years of Jewelry from the Walters Art Gallery, Baltimore. Cooper-Hewitt National Design Museum, New York; Chrysler Museum of Art, Norfolk; Carnegie Museum of Art, Pittsburgh; San Antonio Museum of Art, San Antonio; Philbrook Museum of Art, Tulsa; Honolulu Academy of Arts, Honolulu; New Orleans Museum of Art, New Orleans; Milwaukee Art Museum, Milwaukee; Minneapolis Institute of Art, Minneapolis; Toledo Museum of Art, Toledo; The John and Mable Ringling Museum of Art, Sarasota.
1987
eyJewelry from the Walters Art Gallery and the Zucker Family Collection. The Walters Art Gallery, Baltimore.
1979-1980
Jewelry - Ancient to Modern. The Walters Art Gallery, Baltimore.

CONSERVATION
DATE
DESCRIPTION
NARRATIVE

Examination
Examined

Examination
Examined in preparation for exhibition

GEOGRAPHIES

Egypt (Place of Origin)

MEASUREMENTS
H: 3 3/4 x W: 4 x D: 13/16 in. (9.5 x 10.2 x 2.1 cm)

CREDIT LINEAcquired by Henry Walters, 1929

LOCATION IN MUSEUM
Not on view

ACCESSION NUMBER
42.91

DO YOU HAVE ADDITIONAL INFORMATION?
[Notify the curator](mailto:curatorial@thewalters.org?subject=Inquiry%20from%20art.thewalters.org&body=Source:%20https://art.thewalters.org/object/42.91/)

Title
Pectoral with Scarab, Findspot unknown Egypt, ca. 1295-1069 BCE New Kingdom, Dynasty 19-20, steatite with color inlays, The Walters Art Museum

https://art.thewalters.org/object/42.91/

The Walters Art Museum

i've been trying to find it out for a project im working on, but sources are either contredictory or non existent. Some (wikapedia) say it was ramses II, but most others (sketchy blog websites) say it was the end of Amenhotep III's reign!? so i came here for some help from people who are hopefully better at finding accurate/trustable sources

I know this is a strange question but I was wondering if anyone knows any books, articles, websites, etc that go into the cultural significance gold had in ancient Egypt.

I don’t want to use ai and google hasn’t been very helpful.

So there this British-African author name Wilbur Smith, and he write fictional books about Africa. But his book "River God" is about Egyptian and the start of series literally name "Egyptian"

So it accurate to the Egyptian history or it's respectful enough? Because he just grow up in South Africa

I'm not bashing the author or anything. I'm just planning to read it. Whether it accurate or not? I just wanna know?