Merry Wanderer of the Night [Search results for Middle East] 

The new project, entitled Endangered Archaeology, has been launched at Oxford and Leicester Universities, funded by the Arcadia Fund. The researchers are using satellite imagery and aerial photos, such as Google Earth, to record and monitor the most endangered, and often undocumented, archaeological sites across the Middle East and North Africa. Nearly all the archaeological remains are made of stone or earth and are visible from the air.

They include tombs, settlements, forts, towns, cities, and field and irrigation systems of all periods – from prehistory to the 20th century.  Many of the countries are currently inaccessible on the ground due to ongoing conflicts. Recent work in Jordan by Professor David Kennedy and Dr Robert Bewley has already shown the scale and intensity of development, and that the methodology works, which is why it is being applied on a larger scale across the region.

Project director Dr Bewley, from Oxford University’s School of Archaeology, said: 'This exciting project is very timely as the threats to the region’s most important archaeological sites are increasing at an unprecedented pace and the situation is only going to become more critical if we don’t act now.'

The research team estimates that across the Middle East and North Africa there could be as many as 3-5 million archaeological sites, many of which are under immediate threat, and even more are likely to become endangered in the future. Information about the historical context and condition of each of the sensitive sites will be made available in an open-access database. The information can then be used by everyone, but especially by local archaeologists and volunteers in each of the countries.

Where possible, the project will cooperate with local authorities responsible for the protection of sites, Departments of Antiquities or similar agencies. It is hoped that through the project, a network of local 'wardens' will be created to manage and preserve the landscape and sensitive sites.

Professor Andrew Wilson, the project’s Principal Investigator, said: 'The project will provide tools and strategies for the future conservation and management of threatened heritage, both individual sites and entire archaeological landscapes. This region contains the world’s richest concentration of significant archaeological remains spanning prehistory, the Persian, Greek, Roman, and Islamic empires.'

The project’s website http://ea.arch.ox.ac.uk will be available next month and the database with images and contextual information will follow later in the year.

Source: University of Oxford [February 20, 2015]

A 4,000-year-old statue was sold by Northampton Borough Council (NBC) last year despite an outcry from within the UK as well as other places, including Egypt. 

NBC sold the Sekhemka statue for £15.76m to an overseas buyer -- widely believed to be from Middle East -- in July to “help fund an extension to the town's museum and art gallery.”

Ed Vaizey, minister for culture, communications and creative industries decided to “place a temporary export ban” on the statue. He said the statue was "gifted" to the council in 1880.

The statue “will not be allowed to leave the country,” Vaizey said.

Arts Council England ruled earlier the sale breached the accredited standards for how museums manage their collections. Arts Council England banned Northampton Council from the Museums Association and accordingly has had a Heritage Lottery Fund bid rejected.

Vaizey’s decision is understood to be based on a recommendation by the reviewing committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA), which is administered by Arts Council England.

The RCEWA said the statue was of "outstanding aesthetic importance" and was significant in the study of "the development of private statuary and funerary religion in Egypt and the history of human self-representation."

Save the Sekhemka Action Group praised the ban on exporting the statue. It said in a statement “Our group are obviously delighted that Sekhemka will not be leaving the UK.”

However, the group, which has been campaigning for the statue for many years, remains “deeply disappointed that the situation has been allowed to escalate.”

The statement described the NBC actions as “reckless” and “threatening” the future of Northampton museum.

Author: Marwan Sultan | Source: Ahram Online [March 30, 2015]

Qais Hussein Rashid of Iraq's Tourism and Antiquities Ministry, speaking at the Baghdad conference on the effects of IS on the country's antiquities, said that some sales of Iraqi artifacts on the international black market have been stopped. He added some artifacts of the country's Assyrian era, which can date back to 1900 B.C., have been sold, and 1,500 ancient manuscripts were burned.

He added that two important sites in Mosul, the shrines of Ibn Al-Atheer and the Prophet Yunus, were completely demolished by IS militants.

The mission of IS includes the destruction of religious artifacts pertinent to pre-Muslim times.

Tourism and Antiquities Minister Adel Shershab said archeological sites through Iraq have been destroyed, and asked "friendly countries to take a genuine stand to restore the stolen antiquities."

While the destruction has outraged the world, it can be regarded as a diversion from the sale of antiquities, which is helping fund IS activities, an American archaeologist suggested.

"There are people in the world who know what this stuff is worth, and it is very clear that at least part of the destruction of the Iraqi museum in 2003, that part of that, was induced by people on the outside getting dealers on the inside to go in and try to get specific things," said McGuire Gibson of the Oriental Institute at the University of Chicago. "There's archaeological work going on right now in Iraq, in places where it's relatively secure, work is going on. Whether or not it will be secure next week, we don't know, but we try to work when and where we can."

Edward Planch of the United Nations' UNESCO noted his organization is working with border agencies to recover artifacts seized at border checkpoints adjacent to Iraq and Syria.

"The objective is to have these surrounding countries with us, aware of the traffics, of the kinds of objects going out, able to seize the pieces and keep them in a safe place," Planch told the Voice of America, which noted many of the artifacts in the vandalized Mosul museum were catalogued digitally, a factor which could aid in their recovery.

Author: Ed Adamczyk | Source: UPI [March 13, 2015]

The move follows investigations led by U.S. Immigration and Customs Enforcement agents in New York, Baltimore, Austin, Texas, and New Haven, Connecticut, the department said in a statement.

One of the most significant items that was returned is a limestone statue depicting the head of the Assyrian King Sargon II, an eighth century B.C. ruler.

Immigration and Customs agents seized the looted artifact in August 2008 after an antiquities dealer based in Dubai shipped it to New York. The investigation led to the identification of an international network dealing in illicit cultural artifacts, the statement said.

Other artifacts repatriated to Iraq include gold-plated items, such as a soap dish, looted from the private airport and palace of executed former President Saddam Hussein.

Bronze objects, including a Luristan ax from early Sumeria, and clay reliefs and glass objects were also returned.

The Immigration and Customs Enforcement unit has returned more than 1,200 items to Iraq in four repatriations since 2008, the statement said.

Source: Reuters [March 16, 2015]

“A sort of ‘blue helmets of culture’ are needed, as there are blue helmets that intervene to protect in situations of war,” said Dario Franceschini told the Guardian, referring to the signature uniforms of UN peacekeeping troops.

“There should be an international rapid response force to defend monuments and archaeological sites in conflict zones,” he said.

Franceschini was speaking following the partial destruction of Iraq’s Hatra, an ancient fortress city that the Roman empire repeatedly failed to conquer. Local residents on 7 March reported hearing a large explosion, as Isis militants went on a destructive rampage through the city.

Such attacks were described by Unesco as “a turning point in the appalling strategy of cultural cleansing underway in Iraq,” coming just two days after the Islamist groups bulldozed their way through the 13th-century BC city of Nimrud.

Isis militants have also decimated collections at Mosul museum, which housed artefacts dating back 3,000 years, and set about razing the ancient city walls of nearby Dur-Sharrukin.

As the extremists continue their wanton destruction of Iraq’s prized heritage, Italy’s culture minister urged the international community to wake up to a new form of warfare.

“At one time great monuments were hit accidentally in wars, during bombing. Now they’re hit precisely because they are symbols of culture, symbols of a religion,” he said. Building a force specifically to protect heritage in crisis situations could not be left to an individual state, Franceschini said, and must be initiated by the international community.

The UN security council agreed measures last month to combat the trafficking of antiquities plundered from Iraq and Syria, but safeguarding culture has yet to be written into the mandate of peacekeeping operations.

As historians mourn the loss of Iraq’s cultural heritage, fears have been raised that the same destruction could be wrought on Libya. Amid growing instability, Isis has been gaining ground in Libya, where five sites have been awarded Unesco world heritage status.

Author: Rosie Scammell | Source: The Guardian [March 20, 2015]

Vulnerable: It is not known if the animals, a three-month old white-cheeked gibbon, left and a leopard cub, right, were to be sold or kept as exotic pets when they got to Dubai
Undercover anti-trafficking officers had been monitoring the suspect since he allegedly bought the rare and endangered baby animals on the black market, according to the FREELAND Foundation, an anti-trafficking group based in Thailand.
When authorities opened the suitcases they found two leopards, two panthers, and Asiatic black bear and two macaque monkeys - all about the size of puppies.
Steven Galster, director of FREELAND, who was present when the man was intercepted said that the animals yawned when the bags were opened.
'A virtual zoo': Four two-month-old leopard cubs look from inside a cage. Undercover anti-trafficking officers had been monitoring the suspect since he bought the rare and endangered baby animals on the black market
Let us out! A baby Malayan sun bear, left, looks out from his cage; right, a black tufted Marmoset monkey clutches the bars of his prison with a mournful expression on his face
Imprisoned: A three-month old white-cheeked gibbon reaches out from him cage
Baby: A three-month old Malayan sun bear looks from inside a cage. Authorities believe the man was part of a trafficking network and were searching for suspected accomplices
Slumber: The baby bear sleeps off his sedative. The animals had been drugged and were heading for Dubai
Let us out! A baby Malayan sun bear, left, looks out from his cage; right, a black tufted Marmoset monkey clutches the bars of his prison with a mournful expression on his face
Imprisoned: A three-month old white-cheeked gibbon looks from inside a cage
'It looked like they had sedated the animals and had them in flat cages so they couldn't move around much,' Mr Galster said. Some of the animals had been packed inside canisters punched with air holes.
Authorities believe the man was part of a trafficking network and were searching for suspected accomplices.
Mr Galster said: 'It was a very sophisticated smuggling operation. We've never seen one like this before.
'The guy had a virtual zoo in his suitcases.'
Baby: A three-month old Malayan sun bear looks from inside a cage. Authorities believe the man was part of a trafficking network and were searching for suspected accomplices.
Thailand is a hub for illegal wildlife trafficking, but authorities typically find rare turtles, tortoises, snakes and lizards that feed demand in China and Vietnam. Finding such an array of live mammals is unusual.
In Thailand, leopards and panthers fetch roughly $5,000 a piece on the black market, but their value in Dubai was presumably higher, Mr Galster said.
It was not known if the animals were destined to be resold or kept as exotic pets, a practice popular in the Middle East.
Slumber: A baby bear gets some rest. The animals had been drugged and were heading for Dubai
source:dailymail

VIA Baby bears, panthers and monkeys: The extraordinary menagerie smuggled in first class passenger's suitcases

Copyright by AKOG
THE KILIM PROJECT
About 2 years ago we made a trip to the middle east. We bought used carpets from almost every counrty located around the persian gulf. Every carpet is hand knitted and a few of them are from the beginning of the 19th century. Over the years we´ve collected more than 50 carpets to make a limited collection of 100 bags. Every piece is unique and handmade in Germany.
A KIND OF GUISE (AKOG ) was born by a common interest in creating. We met in Munich in the summer of 2009 working on various creative projects. AKOG is an expression of ourselves and our influences. Basically, what we are is what we create.
AKOG POP UP STORE
8th–10th December 2011 | 11am–7pm
Corneliusstraße 2 | 81312 Munich
A KIND OF GUISE

VIA Limited Bag Collection Made Of Hand Knitted Carpets

The media official of the Kurdistan Democratic Party (KDP) in Mosul, Saed Mimousine said in an interview for IraqiNews.com, “ISIS militants blew up today large parts and expanses of the archaeological wall of Nineveh in al-Tahrir neighborhood,” explaining that, “The terrorist group used explosives in the process of destroying the archaeological fence.”

Mimousine added, “The Wall of Nineveh is one of the most distinctive archaeological monuments in Iraq and the Middle East,” adding that, “The fence dates back to the Assyrian civilization.”

Mimousine stressed that, “Bombing the archaeological monuments by ISIS is a flagrant violation of the right of human culture, civilization and heritage,” calling the international community to “take a stand to curb the destruction of historic monuments.”

Source: Iraqi News [January 28, 2015]

Copyright by Henrik Vibskov
Danish fashion designer Henrik Vibskov has developed a unisex fragrance series named TYPE. the series consists of three scents that reflect a specific moment in time in three different cities: Berlin, Copenhagen and Damascus.
TYPE B, for Berlin, captures a cold winter's day in the former Eastern part of the city, where – even today – numerous buildings and houses are heated with coal. While the scent starts with spicy and fizzy top notes (black pepper, sulphur match), it soon ignites its soft woody heart (cedarwood, vetyver, gaiac wood) and evolves towards an unexpected, yet cosy and welcoming musky black wood dry down (birch and coal tar), recollective of smoky and leatherish odors on the streets of Pankow.
TYPE C, for Copenhagen – Henrik's homebase and creative cradle – is reminiscent of the salty air and fresh waters experienced on boating trips outside Trekroner fortress at the entrance to Copenhagen’s harbour, the best place to catch herrings. Fresh and tonic, TYPE C begins with a clear harmony of citrus (bergamot, mandarin, lemon) mixed with an ozonic sea breeze accord, marked by salty and solar facets. the drydown is a comfortable woody blend, enriched with the key note of the fragrance, sea weed.
TYPE D, for Damascus, is inspired by the fantasy of the Middle East and the ancient marketplaces of Damascus on a hot summer's day – down the colourful, narrow streets where the air is saturated with a rich collection of enticing scents. Starting with the freshness of a spicy, citrus accord (bergamot, pink pepper), the scent soon unfolds into a warm and opulent floral boúqúet (jasmine, orange flower, ginger bread, cinnamon). the rich and sensual drydown unveils a woody, balsamic harmony of styrax wood, sandalwood, tonka bean and vanilla.

HENRIK VIBSKOV

VIA Henrik Vibskov Launches Unisex Fragrance Type

But the 2,500-year-old treasures from present-day Iraq have become part of a thorny archaeological debate over how to handle historically significant relics thought to have been dug up in the fog of war by Mideast antiquities robbers.

Experts in cuneiform writing, one of the world's earliest scripts, say the collection of 110 cracker-sized clay tablets provides the earliest written evidence of the Biblical exile of the Judeans in what is now southern Iraq, offering new insight into a formative period of early Judaism.

The tablets, though, also tell a murkier story, from the present era, according to scholars familiar with the antiquities trade - a story of the chaos in Iraq and Syria that has led to rampant pilfering of rich archaeological heritage and a rush of cuneiform tablets on the international antiquities' market.

The collector who owns the tablets on display this month at the Bible Lands Museum Jerusalem, insists they were purchased legally, decades before that looting began. However, an ancient history scholar familiar with the artifacts disputes that.

Leading U.S. museums have pledged not to exhibit unprovenanced artifacts that have surfaced in recent decades, as part of an effort over the last decade to discourage illicit antiquities trafficking. But cuneiform inscriptions have emerged as a notable exception, with some arguing these relics would be lost to history if they did not make it into scholarly hands.

"We are not interested in anything that is illegally acquired or sneaked out," said Amanda Weiss, director of the Bible Lands Museum Jerusalem.

"But it is the role of a museum to protect these pieces," she added. "It's what we are here for."

The plundering of antiquities in the war-torn Middle East has become a primary concern for the archaeological community, and some archaeologists even compare satellite images of sites in Iraq and Syria to moonscapes, after antiquities robbers went through them.

Archaeologists claim the Islamic State extremists and militants from other groups are funding their activities in part through illegal trafficking of antiquities, and authorities worldwide have been taking action to try to stem the flow.

What first sparked awareness of the issue, archaeologists say, was a deluge of cuneiform artifacts on the Western antiquities markets after the first Gulf War in 1991.

In the years that followed, archaeologists estimate that hundreds of thousands of small clay tablets with cuneiform inscriptions made their way into the hands of dealers. Many contained incrustations, indicating they were "fresh out of the earth," said Robert Englund of the Cuneiform Digital Library Initiative.

An American scholar of ancient Jewish history familiar with the tablets on display in Jerusalem said they were purchased on the London antiquities market at the time when cuneiform artifacts were flooding the market, a strong indication that the items were looted. He spoke on condition of anonymity to discuss a potentially illegal activity.

London-based Israeli collector David Sofer, who loaned the cuneiform collection to the Bible Lands Museum, denied any foul play. He said he purchased the tablets in the United States in the 1990s from a person who obtained them in public auctions in the 1970s.

Sofer said a few tablets from the collection were displayed in a New York museum and a Los Angeles museum in 2013, and their import and export in the U.S. was properly reported to U.S. authorities. He would not name the two museums, or the person who sold them to him.

"These things would be lost, and wouldn't be recognized for what they are" if he hadn't bought them, Sofer said.

As common as cuneiform tablets are, few have been as celebrated as those on display in Jerusalem.

The tablets fill in a 130-year gap in the history of the Judeans exiled to Babylon after the Babylonian destruction of Jerusalem in the 6th century B.C., said Laurie Pearce, a cuneiform expert from the University of California, Berkeley.

The earliest of the tablets, which have dates inscribed on them, is from just 15 years after the destruction of the First Jewish Temple in Jerusalem, and the inscription suggests the displaced Judeans were more quickly absorbed into the Babylonian society than previously thought, said Pearce, who studied the collection.

The tablets include administrative documents such as land agreements, showing the Judeans were "integrated almost immediately," she added.

The Jerusalem museum says the tablets likely originate in today's southern Iraq, and reference common Judean names, including Netanyahu, the last name of Israeli Prime Minister Benjamin Netanyahu.

The topic of cuneiform artifacts still roils the archaeological community.

The American Schools of Oriental Research, an academic research association, bans scholars from publishing articles on artifacts illegally excavated or exported from their country of origin after 1970, when the U.N. adopted its policy against antiquities trafficking.

But in 2004, the association made an exception, allowing publications about cuneiform artifacts that have no record of how they were unearthed - under the condition that Iraqi antiquities authorities give their consent and that the artifacts are eventually returned to Iraq.

The exception was made because the esoteric wedge script writings are so valuable to historical study, said Eric Meyers of the association.

The policy is now again a point of contention in the field. Over the past year, scholars at the association have debated changing the policy again, with most experts leaning against publishing articles on cuneiform artifacts as these objects continue to hit the markets, Meyers said.

"It is a crisis in the region," he said.

Author: Daniel Estrin | Source: The Associated Press [February 12, 2015]

The BBC has been investigating the trade, and the routes from Syria through Turkey and Lebanon to Europe.

The Smuggler

It has taken many calls and a lot of coaxing to get a man we are calling "Mohammed" to meet us. He is originally from Damascus but now plies his trade in the Bekaa valley on the border between Syria and Lebanon. He's 21 but looks much younger in his T-shirt, skinny jeans and black suede shoes. As we sit in an apartment in central Beirut I have to lean forward to hear the softly spoken young man describe how he began smuggling looted antiquities from Syria. "There's three friends in Aleppo we deal with, these people move from Aleppo all the way to the border here and pay a taxi driver to sneak it in." He specialised in smaller items which would be easier to move on - but he says even that has become too risky. "We tried our best to get the items which had most value, earrings, rings, small statues, stone heads," he says.

He made a good profit but bigger players with better connections "sold pieces worth $500,000, some for $1m", he says. When I ask who's making the money and controlling the trade in Syria his gentle voice takes on a flinty tone: "IS are the main people doing it. They are the ones in control of this business, they stole from the museums especially in Aleppo," he says. "I know for a fact these militants had connections overseas and they talked ahead of time and they shipped overseas using their connections abroad." Mohammed is still involved in cross-border trade, but no longer in antiquities. "Anyone caught with it gets severe punishment," he says. "They accuse you of being IS."

The Go-between

To sell looted antiquities you need a middle-man, like "Ahmed". Originally from eastern Syria, he is based in a town in southern Turkey - he doesn't want me to specify which one as he doesn't want the police to know. As a Turkish-speaker he is popular with Syrian smugglers, who ask if he can move goods on to local dealers. When I speak to him via Skype he shows me a blanket next to him filled with artefacts - statues of animals and human figures, glasses, vases and coins. They were dug up in the last few months. "They come from the east of Syria, from Raqqa, all the areas controlled by ISIS (Islamic State)," he says. Islamic State plays an active part in controlling the trade, he tells me. Anyone wanting to excavate has to get permission from IS inspectors, who monitor the finds and destroy any human figures, which are seen as idolatrous (those Ahmed is showing me have slipped through the net). IS takes 20% as tax. "They tax everything," he says.

The main trade is in stoneworks, statues and gold, and it can be extremely lucrative. "I have seen one piece sold for $1.1m," he says. "It was a piece from the year 8500BC." He gently handles each artefact as he brings it closer to the webcam to give me a better view. He has had to pay a sizeable bond to the smugglers to get this material and he doesn't want to lose any of it. The final destination is Western Europe, he says. "Turkish merchants sell it to dealers in Europe. They call them, send pictures... people from Europe come to check the goods and take them away." Ahmed will have to return the looted artefacts to his Syrian contacts, as I am clearly not buying them, but he won't be returning to his homeland. "If I went back I'd be killed," he says.

The Dealer

It's an unremarkable tourist shop in the centre of Beirut. Inside the glass cases are ancient oil lamps, rings and glassware but the shop owner, a laconic man in his late 40s, has an unusual selling tactic - he says much of it is fake. However, he assures me he does have genuine pieces from the Hellenic and Byzantine periods, around 1,000 years old. I'm interested what other items he can get, mosaics for example? I had been advised by archaeologists that mosaics would almost certainly be looted - at the moment, that would mean most likely from Syria. He asks which kind I want. Faces, animals, geometric designs? "If you're serious we can have a serious negotiation... there is always a way," he promises. When I ask if it's legal he smiles as he tells me the only way to legally ship these items is with official documentation from a museum saying they have been cleared for export.

If it was only a small mosaic I wanted, I could take the chance and try to smuggle it out myself but he warns it's a serious decision, as I could get caught. For a fee he can have them shipped to the UK but it will cost me many thousands of pounds. We shake hands as I leave and he gives me his business card. It has only taken 10 minutes to be offered illicit antiquities. Arthur Brand, an investigator who helps recover stolen antiquities isn't surprised, it chimes with his experience in Lebanon. "I've been there several times and at times and it really is amazing," he tells me from his base in Amsterdam. "The illicit trade is run as a professional business with offices and business cards and you can buy antiquities from Lebanon, but also from countries like Syria, Iraq." The link between smugglers and dealers is the dirty secret the art world doesn't want to admit to, he says.

The Cop

He could easily pass for the star of an Arabic cop show but Lt Col Nicholas Saad is a real policeman, head of Lebanon's bureau of international theft. In his office, filled with certificates from the FBI and Scotland Yard, he shows me photos of huge Roman busts seized in a recent raid in Lebanon. We go up to the roof of his police station, where out to the east, beyond the mountains, is the border with Syria. This is where refugees pour into the country and are exploited by the smuggling gangs.

"The refugees come in big numbers and the gangs put things between the belongings of the refugees," he explains. Since the conflict in Syria he has noticed a significant increase in the smuggling of looted artefacts, "especially from the Islamic parts, Raqqa (the base) of the Islamic State", he adds. His team has seized hundreds of Syrian artefacts. "We have the archaeology expert that said they're very valuable from the Roman period, from the Greek period, years before Christ," he says. But there isn't a market for them in Lebanon. "Lebanon is a transit station, it's one of the the doors that goes to Europe. The real money is made in Europe."

The Treasure

Inside the Beirut National museum are treasures from the cradle of civilisation - Hellenic, Roman and Byzantine statues, busts and sarcophagi 3,000 years old. Hidden away from the public in a store room below the main galleries, seized looted antiquities wait to be returned to Syria. My guide is Dr Assaad Seif, an archaeologist and head of excavations at the directorate general of antiquities in Beirut. He rings a bell and a wrought iron door is unlocked. Inside are scores of items - pottery, stonework - but the most valuable items are sealed away in a warehouse. "We have huge funeral sculptures, representing men and women used to seal the tombs, from Palmyra," he says.

Most of the seized items are from excavations rather than thefts from museums. The looters target warehouses at ancient sites like Palmyra, a Unesco world heritage site. "The warehouses at archaeological sites have objects they know are not listed or catalogued yet, and they think it could be easier to sell them," he says. "The Palmyra objects had value for people in Syria... it gives a kind of identity," he says. Although reluctant to put a price on any of the bigger items, after some coaxing he relents. "We have a dozen objects that would sell for $1m each on the open market." I understand why they keep them out of sight of curious foreign visitors.

The Destination 

It has taken days to get through to Dr Maamoun Abdulkarim, the archaeologist in charge of Syria's dept of antiquities in Damascus. When I do reach him, he's angry. "The sites under the control of ISIS, in these areas we have a disaster, a lot of problems. IS attack all things just for the money," he says. "It is our memory, our identity, for the government, the opposition, for all Syria." It's impossible to stop the looting but he is adamant more could be done to crack down on the trade. "We are sure through all the sources a lot of objects go from Syria to Europe, in Switzerland, in Germany, in UK - and Gulf countries like Dubai and Qatar," he says.

It was a common refrain. Everyone from the Lebanese police to Mohammed the smuggler and Ahmed the go-between said the main market was Europe. In the UK there have been no prosecutions or arrests for selling looted Syrian artefacts but Vernon Rapley, who ran the Metropolitan Police's art and antiquities squad for almost a decade, says too much shouldn't be read into this. "I'm quite confident that there have been seizures of material like this," he confidently states, as we stroll around his new workplace, the Victoria and Albert museum, where he is director of security.

Rapley still liaises closely with his former police unit and he is certain that artefacts from Syria are being sold here. He wants the trade in these antiquities to become "socially repugnant and unacceptable" so that in the future, he says, "we don't have interior decorators looking for these things to decorate people's houses".

Author: Simon Cox | Source: BBC News Website [February 17, 2015]

Bonnie from A Backwards Story is with us again today, bringing us another fantastic interview — this time with Carolyn Turgeon!

Carolyn Turgeon is the author of three novels, Rain Village, Godmother, and Mermaid. Her next novel, The Next Full Moon, is scheduled to come out in August/September 2011. Based on Te Swan Maiden, this will be Turgeon’s debut novel for young readers. Her novels tend to be twisted versions of fairy tales you’ve never seen before, such as The Little Mermaid from the princess’ perspective in addition to the mermaid’s or a version of Cinderella where the godmother is banished from the fairy realm when something goes horribly wrong... For a review of Turgeon’s work, please visit the above links. Reviews of her other titles will come to A Backwards Story later this year. Godmother and Mermaid are also featured in a FTF guest post titled FRACTURED FAIRY TALES.

1) What were your favorite fairy tales growing up? What drew you to them?
I can recall loving all kinds of stories, such as Thumbelina and The Princess and the Pea, with all their strange and wonderful images—the tiny girl floating along in an acorn, the princess with her stack of mattresses. I think my favorite fairy tales were by Oscar Wilde: The Happy Prince, The Nightingale and the Rose… but my favorite was The Selfish Giant. It’s very sad and strange and beautiful—the ghostly little boy, the lush garden, the endless snow and frost, the giant who gets struck down, covered in white blossoms… I’ve always tended to like stories that are very sad.

2) What made you decide to write alternative versions of fairytales from unique perspectives?
I didn’t really start out intending to write alternative versions of fairy tales. When I started Godmother: The Secret Cinderella Story, I just wanted to tell the Cinderella story straight, with lots of wonderful, lush detail and full, fleshed-out characters and all kinds of weirdness and darkness, etc. That’s what I love about fairytales, by the way—that strange combination of beauty and darkness you find in all of them. After my first book, Rain Village, which took forever to write, I wanted to do something that I thought would be a lot of fun, something that I would really love writing. I only decided to tell the story through the perspective of the fairy godmother when I realized how limited Cinderella’s perspective was—back then I only ever wrote in first person—so I figured that if the fairy godmother was narrating she could be pretty omniscient, tell you what was going on with Cinderella and the other characters. Plus, she could tell you her own story, too, which I thought might be interesting. Later, I decided to set the book in contemporary New York City and only have the godmother remembering everything that had happened in the other world. The book is set half in New York and half in the fairy tale world (in flashbacks). I only decided to do that after joining a writing workshop and seeing that the people in the workshop didn’t seem to be responding to the straight-out fairy tale I was writing. I wanted to win them over and I thought maybe I could lure them in with a present-day story set in the city, win them over that way, and then plunge them into the fairy tale.
So the book only slowly evolved into this alternative version. Once I put the fairy tale in via flashbacks, I knew something had to have gone terribly wrong. Why else would the fairy godmother be an old woman in New York?
After writing the book, though, I felt there was something really powerful in taking a story as well known as Cinderella, a story that’s in our blood and bones, and telling the “real” story from a perspective you never think or care about.

3) Can you tell us more about your upcoming book, The Next Full Moon?
The Next Full Moon is my first children’s book, a middle-grade novel about a 12-year-old girl who’s being raised alone by her father in Pennsylvania and who starts growing feathers, which is totally mortifying and confusing for her of course. She then comes to discover that her mother, whom she thought died when she was an infant, was (and is) a swan maiden. The story’s based on the old tales in which a man steals a swan maiden’s feathered robe when she’s in her human form, takes her home, marries her and has children with her. One day she discovers the robe and flies away—there are various reasons for this, depending on the version you read. I wondered: what happens when those kids she leaves behind hit puberty? In my book, the man and woman had only one child, and now here’s the kid ten years later with feathers appearing on her arms and back, having no idea that her mother is still alive and, of course, no idea that she’s a swan maiden.
I like the idea of a 12-year-old girl, full of shame and embarrassment, slowly discovering that she’s magical and amazing.

4) What other ideas are you working on right now?
Well, I’m working on a few things right now. Because of Mermaid, I started this blog, I Am a Mermaid, where I talk to all kinds of people about mermaids. I’ve realized that there’s this whole mermaid culture out there that’s really fascinating and lovely. So I’m writing my first non-fiction (but still quite fantastical!) book. And I’m working on a new novel that has to do with Weeki Wachee and a YA novel about a drowning pool, and I have this half-done thriller that I hope to finish this year…

5) Was it hard coming up with your own lore when you began world-building? How did you bring everything together?
It was challenging for me to write about magical worlds, I think, in that I was afraid of making them too Disney-ish or corny. So with Godmother, at first I was very vague when talking about the fairy world; in fact in the first draft, the flashbacks start with the godmother meeting Cinderella and we don’t really see her in her own world at all. It was only after the book sold that my editors pushed me to make the fairy world more defined and vivid, to explain the rules of that world and the landscape of it and so on. So I added in the first couple of flashback chapters that are in the book now, and they were probably the hardest chapters for me to write, even though they’re probably the lightest ones in the whole book.
With Mermaid, I mainly had to explain the rules we see in the original Hans Christian Andersen story… like why the mermaids can only visit the human world once, on their birthdays, and so on. It was more like putting together a puzzle than anything else, trying to create the worlds in that book and make them adhere to specific points from the original story.

6) Which of the books you've written is your favorite so far? What makes it the most special to you?
Hmmm. I think that would always tend to be the latest one. Right now I’m very excited about The Next Full Moon and writing for this younger age group. I found it surprisingly easy to write as a twelve-year-old, which is possibly a little worrisome, and was able to draw on my own memories and experiences more than I have for any other book. Like the characters all go to the lake in their town, where there’s an old carousel and people sell lemonade and they can all go swimming or lie out on the beach. And I was just directly describing the lake my friends and I used to go to in East Lansing, Michigan, where I lived from when I was twelve to fourteen, and I hadn’t thought about that lake in years. We moved around a lot when I was growing up, and so I’m really distanced from some of those memories and places. It was kind of nostalgic and wonderful, writing that book and slipping into those memories and this old self. Also, I have to say, I think the trauma and awkwardness of being twelve mixes really well with the fairy tale elements in the book, and I like the idea that something magical is happening to you as you hit puberty and you just have to figure that out.

7) What are some of your favorite fairy tale inspired novels and/or authors?
I love Angela Carter and her weird, gorgeous visions. I love Alice Hoffman, Francesca Lia Block, Joanne Harris, Isabel Allende, Jeanette Winterson, Gabriel Garcia Marquez, Italo Calvino... They’re not all fairy tale writers and I don’t know to what extent they’ve all been inspired by fairy tales, but they all write in that vein I think, lush and magical. I really enjoyed Erzebet Yellowboy’s Sleeping Helena. And I also, by the way, really loved the way the Pied Piper story is used in the movie The Sweet Hereafter. It’s pretty brilliant.

8) If you could live out any fairy tale, what would it be and why?
Oh, I think maybe Thumbelina. I mean, who wouldn’t want to ride around in an acorn? For the most part, I think fairy tales are not the stories I would like to live out. Though I wouldn’t mind being the little mermaid for a day, before she goes and sees the sea witch and ruins her life…

9) What's your favorite Disney rendition of a fairy tale? What makes it so special?
I’m going to have to defer to my childhood self, who loved all those movies quite passionately. As an adult, I could barely even get through The Little Mermaid, which I was totally swept away by as a teenager. Probably my favorite, though, is Snow White. The old versions of that tale are really very shockingly weird and violent, and even the Disney version is incredibly creepy, with our semi-dead heroine lying gorgeously in a glass coffin in the forest and our hot prince having a thing for dead chicks.

FUN AND CRAZY ROUND!

~Best fairy tale villain and why?
Oh, the stepmother from Snow White. She’s a gorgeous witch with a magic mirror who has her stepdaughter murdered in the forest and then eats her heart (or lungs or what have you). Even though she’s betrayed by her huntsman and actually eats a stag’s heart, she believes she’s eating Snow White’s. It’s hard to think of a more perverse female villain! And I love the image of her skulking through the forest with her cloak and her basket full of poisoned apples.

~Rapunzel is named after lettuce; what odd thing would you be named after if you were in a fairy tale?
Oh, I love Rapunzel and the lettuce that is so delicious and addictive that Rapunzel’s mother craves it above all else and even makes her husband climb into a witch’s garden to get more for her. I mean, who pines for lettuce? Now I totally want some lettuce, now that I’m thinking about it...
I’d like to be something equally un-chocolate-y, if you know what I mean, some other pedestrian, unsexy vegetable with hidden powers of seduction. Like a rutabaga or a turnip. Turnip is kind of a cute word, not too far off from the delightful “tulip.” I’d like some fairytale character to be sitting in a room wasting away from a mad desire for turnips.

~ Using that name, give us a line from your life as a fairy tale:
She stared out the window at the impossibly lush turnips growing outside just beyond reach, their leaves shooting into the air like hands, their bodies dense and purple, as round as breasts. Her mouth watered as she watched the turnip leaves undulating in the breeze. As if they were bellydancing, she thought.

Meanwhile, Turnip was enjoying a large slice of chocolate cake at Jean Georges.

~Would you rather:

- — eat magic beans or golden eggs? Golden eggs. Don’t those sound delectable? A magic bean is just wrong.

- — style 50ft long hair or polish 100 pairs of glass slippers? I think polishing the glass slippers would be much more manageable. And I love things made out of glass, especially slippers and dresses. Are you aware of Karen LaMonte’s glass dresses? Look:

- — have a fairy godmother or a Prince Charming? Oh, a fairy godmother. Who wouldn’t want an endless supply of dresses and carriages? And let’s face it: Prince Charming isn’t all he’s cracked up to be.
Come to think of it, though… if we’re talking about the fairy godmother from my own book, then I’d really have to go for the hot prince, or even one of the coachman or mice. Anyone but the godmother, please!

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Okay, okay, here’s the part you’re all waiting for: The giveaway! Carolyn has generously agreed to give away three—yes, THREE—autographed copies of Mermaid as well as some fun mermaid tattoos! You know you want to win this contest and read this fantastic book.

To enter,. In addition, please leave a comment answering this question: What would you do if you could be a mermaid for a day? Also, what would you be willing to sacrifice in order to become a mermaid?

Entries must be received by MAY 5th. May 8th This giveaway is INTERNATIONAL!
Good luck and I can’t wait to see your responses!

PS from Misty: I love this picture! ----->

Today for our Memory Monday guest, I have Gale! She's an author with a really interesting back story! Check out her bio and hear her talk about childhood favorites!:) Here is a link to her blog- http://www.galeminchew.bravejournal.com

My Bio:

Gale Minchew is a licensed psychologist who resides in East Texas with her husband and two children. In her professional practice, Dr. Minchew specializes in issues related to children and families. However, over the past couple of years, she has consulted with adults and children who have experienced a broad range of paranormal phenomena, as well.

Over the past 14 years, Dr. Minchew has written several works of fiction, in addition to completing a dissertation. While she has become adept at technical writing through her professional practice, Dr. Minchew’s heart is with young adult fiction. She strives to provide a cross-over experience that engenders the creativity and interest the adult population craves while upholding some of the core values that are so lacking in many of the current works of young adult fiction on the market. Shadows of Destiny is Dr. Minchew’s first published fiction novel.

The Sidewalk Ends Here…

I don’t remember any books from my childhood. At least, that’s what I thought. When I first tried to conger up memories of reading, I drew a complete blank. Yes, I couldn’t think of one single book! So, I decided to delve a little further into my mind and came up with the cute teddy bear board book my mom read to me as a toddler, Cinderella, and The Princess and the Pea. I still have that little teddy bear book and will always cherish it. But, can that really be all I remember reading as a child? Pulling those memories from the frayed edges of my mind soon buried me under a wave of book covers and authors. Oh! What about the Sweet Valley High series by Francine Pascal? I read that series incessantly during my teen years. I remember spending so much money on those books…and it became a challenge…buying, reading, and arranging all those books on my shelf in chronological order. Then, a little further back I remembered some required reading from middle school…Are You There God? It’s Me, Margaret by Judy Blume and the life and writings of Edgar Allen Poe. I admit, I didn’t care for Judy Blume, but I was fascinated with Edgar Allen Poe…The Raven, The Tell Tale Heart, The Masque of the Red Death, The Pit and the Pendulum, and so on. But, I still wonder why they had Poe as required reading for a 13 year old! It was probably my fascination with Poe that led to my interest in crime/suspense/mystery novels. So, it was only logical that by high school, I had moved on to Dean Koontz, Stephen King, and Anne Rice.

I continued to ponder the books I read as a child and found that with all the authors, titles, and genres flowing through my mind, I continuously returned to fourth grade. It was a magical year, I suppose…a time for trading stickers with my friends, staying out of the clutches of boys chasing girls on the playground, and my first introduction to poetry. Now, I admit I would have done almost anything to not go outside for recess, as you can imagine! Quite coincidentally, my fourth grade teacher, Mrs. Joyce Sigler, had an exciting project for me and a friend in lieu of play time. At recess, she would tape a large sheet of white paper on the wall and place the overhead projector in just the right spot for maximum size. She would then place a transparency on the overhead glass, and my friend and I would carefully trace the letters and drawings onto the plain white paper. That simple job made me feel important! And, unbeknownst to me at the time, I learned about poetry and how to make that funny little lower case ‘a’. I mean, who really writes an ‘a’ like that? Ultimately, I ended up reading the entire book from which the transparencies were made. What an exciting experience at such an impressionable time in my young life!

You may wonder what poetry could possibly fill a fourth grader with so much excitement. This poetry was magical, complete with funny drawings…a book filled of stories such as Sarah Cynthia Sylvia Stout who would not take the garbage out, a crocodile who went to the dentist, and little Peggy Ann McKay who was so sick she could not go to school today! Yes, Where the Sidewalk Ends by Shel Silverstein became my favorite book that year. That year became one of my most memorable years in school and, by my estimation, served as a catalyst for my growing love of books.

I now share Mr. Silverstein’s books with my own children. Not only Where the Sidewalk Ends, but A Light in the Attic, Falling Up, and The Giving Tree, as well. Will my fourth grader have the same memories about reading these books as I have? Probably not, but I hope to make an impression as great as that given to me all those years ago by one very special fourth grade teacher and Shel Silverstein!

What a fun post Gale!! I'm pretty much the only person I know who didn't love Shel Silverstein growing up, and I tried to read him a while ago and... eh. Still don't love. But I loved hearing your story! And even though I don't love Shel, his are definitely books I'll have for my future kids! Thanks so much for guesting for me today!