A Quote by Zahi Hawass

Egypt has managed to reclaim the 13-page papyrus manuscript. — © Zahi Hawass
Egypt has managed to reclaim the 13-page papyrus manuscript.
I love my editor, but that would be the definition of hell to me to live with someone and have them go page by page through my manuscript. That I want to avoid at all costs.
I'd had 12 different job titles in publishing before I typed 'The End' at the bottom of a manuscript page. I thought the manuscript was in great shape; I was pretty proud of myself. Then I sent it to some publishing friends, and they tore it apart.
As though she had entered a fable, as though she were no more than words crawling along a dry page, or as though she were becoming that page itself, that surface on which her story would be written and across which there blew a hot and merciless wind, turning her body to papyrus, her skin to parchment, her soul to paper.
The writer marks the changes he wants to make, while a proofreader also goes through the galley, checking it page-by-page against the manuscript. Once all these changes are identified, a second-pass proof is made, and this, too, gets sent to the author and the proofreader, and the process begins anew.
All is made clear,regarding Abraham and Sarah's traversal into Egypt, when we realize what biblicists meant by the term "Egypt." As Ralph Ellis so brilliantly points out, the name Egypt was employed by the composers of the Old Testament to denote Thebes in Lower Egypt. This was the city and region controlled by the adversaries of the Hyksos. It was considered a separate region, with different rulers, gods, customs, and politics. So, it was not the country of Egypt that Abraham visited, but Thebes within Egypt.
I have always been jealous of artists. The smell of the studio, the names of the various tools, the look of a half-finished canvas all shout of creation. What do writers have in comparison? Only the flat paper, the clacketing of the typewriter or the scrape of a pen across a yellow page. And then, when the finished piece is presented, there is a small wonder on one hand, a manuscript smudged with erasures or crossed out lines on the other. The impact of the painting is immediate, the manuscript must unfold slowly through time.
I basically wrote five books with 'Night Soldiers,' called them novellas, and came in with a 600-page manuscript.
My family were finally kicked out of Egypt in 1965 for being Jewish. We managed to remain longer than most.
In the night ride across the Wular lake a small storm made me worry for the safety of my manuscript (Rajatarangini). It seemed as if the goddess of wisdom - Sharada, represented by waters of Kashmir, was unwilling to let me abduct the manuscript. This is what happened 1200 years ago to the Chinese pilgrim Hiuen-Tsang, who had to leave his Sanskrit manuscript in the angry Indus River.
It's an odd thing when there is a fan page for my daughter who is not yet 13.
Carter pulled out several lengths of brown twine, a small ebony cat statue, and a thick roll of paper. No, not paper. Papyrus. I remember Dad explaining how the Egyptians made it from a river plant because they never invented paper. The stuff was so thick and rough, it made me wonder if the poor Egyptians had had to use toilet papyrus. If so, no wonder they walked sideways.
As a writer, you have control of the words you put on the page. But once that manuscript leaves your hand, you give control to the reader. As a director, you are limited by everything: weather, budget, and egos.
I like when the manuscript keeps its authentic style and form, so even if I have accepted some advice from editors, I don't really want to adapt the manuscript to the needs and expectations of the readers.
When I was taken to the concentration camp of Auschwitz, a manuscript of mine ready for publication was confiscated. Certainly, my deep desire to write this manuscript anew helped me to survive the rigors of the camps I was in.
There's a certain pressure you put on yourself to use the comics page to full advantage that can focus your mind to a pinpoint, and when the juices are flowing, that's incredibly exciting. When you've managed to fit a complex set of actions or a complicated emotional passage into a single page there's the sense of satisfaction that I suspect a sculptor gets from chipping away at a piece of stone and ending up with a fully-realized work of art.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
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