“You are the fool who must find the fool”
Ethan Gage, former assistant to Benjamin Franklin - a good deal nicer than nasty but a good deal nastier than savory, perhaps picaresque is the word – has an unbeatable run at a game of cards in Napoleonic post-revolutionary Paris and finds himself the less than fortunate new owner of a mysterious medallion which, it would seem, an extended collection of mean-spirited characters are hunting for. Gage discovers to his dismay that they are quite willing to do whatever it takes to get their hands on it. The game is afoot and the chase is on, a chase that will lead from the meanest streets of Paris to Alexandria, into a pitched naval battle against the overwhelming English fleet commanded by Horatio Nelson, and up the Nile to Cairo and the pyramids with Napoleon’s dreams of world conquest!
There are those who would criticize NAPOLEON’S PYRAMIDS as a dead ringer derivative from INDIANA JONES and THE RAIDERS OF THE LOST ARK. To them I say, “Boy! Right on! It could hardly be closer!” You’d be very hard pressed to fit a piece of onion-skin flimsy between the two in terms of narrative style and general plot outlines – the wise-cracking hero and the aloof but slowly warming romantic love interest, the collection of mean dudes chasing after the hidden artifact (not to mention the charms and affections of the afore-mentioned female), the historical underpinnings behind the meaning and the value of the elusive prize, the overlaid widespread conflict, the outrageously booby-trapped hiding place, and, of course, layer after layer of ingenious puzzles safeguarding the actual location of the ultimate sought for prize! But I’d also suggest that it doesn’t make NAPOLEON’S PYRAMIDS any less gripping or enjoyable.
If William Dietrich didn’t do a particularly effective job at evoking the temporal atmosphere of 18th century Paris or Egypt (and he didn’t), he did an extraordinary job at bringing Egypt, the location, and the events in the life of a 19th century military campaign to life. Take a peek at this excerpt from a paragraph describing lush, biblical landscape outside of Alexandria:
“Brilliantly green fields of rice, wheat, corn, sugar, and cotton formed rectangles between ranks of stately date palms, as straight as pillars and heavy with their orange and scarlet fruit. Banana and sycamore groves rustled in the wind. Water buffalo pulled plows or lifted their horns from the river where they bathed, grunting at the fringe of papyrus beds. The frequency of chocolate-colored mud-brick villages increased, often topped by the needle of a minaret.”
And Dietrich’s extraordinary, graphic description of the minutiae of the close quarters naval battle under sail in Alexandria harbor was nothing less than astonishing. In hindsight, I’ll admit that I would gladly have paid the price of the book for those few pages alone.
Last but not least, Dietrich’s skill at adding interesting, educational, mini info-dumps on a bewildering variety of subjects without interrupting the flow of the story must be complimented – the Fibonacci sequence; Pascal’s Triangle; the historical development of long arms from breech loading muskets to long-barreled rifles; the geometry of the Egyptian pyramids and theories around their meaning; the history of Freemasonry; the movement of stars in the sky over the course of millennia; the mythology of the Book of Thoth; and much, much more.
Derivative? Yep, but despite my expectation that NAPOLEON’S PYRAMIDS was probably going to be a bust, this reader closed the last page of the book as a happy convert looking forward to THE ROSETTA KEY, the obvious sequel that Dietrich foreshadowed in the closing paragraphs. Highly recommended.
Paul Weiss