Home » Posts tagged 'Mayan Queens'
Tag Archives: Mayan Queens
Where do you go to read reviews of books?
I’ll bet that none of these immediately come to mind: Historical Novel Society, Midwest Book Reviews, City Book Reviews, Library Thing, Book Riot, Bookish, Booklist, Foreword Reviews, or Bookpage. You’ll probably think of Kirkus, BookBub, Goodreads, NY Books, and Publishers Weekly. Or The New York Times Review of Books and Library Journal. . . for those lucky few authors.
Everyone who reads, whether print or ebooks, knows the ultimate review source: AMAZON. Where do you turn first when you want information about a book you’re interested in? Kudos if you didn’t answer Amazon — I know some people who have sworn off the behemoth of online shopping. Sadly, most readers simply find it too convenient to disdain this slick service and thus read mostly Amazon reviews.
But, there’s a world of hidden book review sources that few readers will see. These are reviews posted on individual blogs by a myriad of reviewers and hosts. The world of book blogging is huge. It’s easy for some great reviews to remain hidden, never to be seen by most readers.
My purpose in this blog series is to rescue hidden reviews of my recent book, The Prophetic Mayan Queen: K’inuuw Mat of Palenque. After it was published in January 2019, I took it on two blog tours. Each tour had 8 to 10 hosts who either wrote reviews, had guest reviewers, and/or did author interviews. It was great fun responding to their interview questions, even including a You Tube video. The book got several excellent reviews, but most were never posted on Amazon or Goodreads.
Here’s the review posted on Shannon Muir‘s blog.
Guest Review of The Prophetic Mayan Queen by Laura Lee
Wow. Whenever I read a book like this I cannot imagine the amount of research that must have gone into it. Leonide Martin’s bio says that she is a professor and Mayan researcher and I’m not surprised to hear that considering the depth of information in this book.
Now, don’t get me wrong, I know when I say that this book was
packed with info about Mayan culture that type of statement would turn a lot of
people off from reading it. You might be thinking something like, “Oh no, this
sounds dull or too hard to understand.” Honestly, I would probably have assumed
that too, but this book was SO not dull or hard to understand.
Martin seems to have a way with providing just the right amount of detail to draw the reader in and illustrate the world without dragging it down with a bunch of unnecessary stuff. I have read very few writers who can accomplish that and she seems to do it with ease.
Writing about history is one thing, but writing about a totally different world through the eyes of a 12 year-old girl is a totally different ballgame. Martin’s heroine, K’inuuw Mat was interesting, kind, motivated and, and this is the most important part– realistic! It was simply amazing to read about a girl who would have lived thousands of years ago and be reminded of my own self as a young woman.
What an experience this book was! I’m going to be keeping it in my library for future re-reads and to help me in my own historical writing. Maybe the goddess Ix Chel can bless me in my own work and make it just as historically accurate and entertaining as this one. I Cannot recommend this book highly enough if you’re on the fence about reading it! I give it all 5 stars!
Interview with the Author Leonide Martin
Where do you get the names for your characters? Most of the characters have historic names, and I use these as archeologists have spelled them. With progress in the ability of epigraphers to read Maya hieroglyphs, different spellings have emerged. My choice about which spelling to use is influenced by my past exposure to those names, and my sense of which spelling would be easier for English readers to understand. For fictional characters, I select Mayan words from a list that I’ve generated over the years. Mostly the translations of those words guide my selection, since I try to fit the name to the character.
How long did it take you to complete the book? Active writing took nearly two years, though I’d been collecting research for this time period all along. –
Which character do you love to hate? Probably my most villainous character in this book is Talol, wife of Kan Bahlam. She is jealous, scheming, and vengeful with no redeeming virtues. But, she deserves some sympathy because she is so deeply wounded by her amorous and disdaining husband. Talol does get to inflict considerable harm on those invoking her wrath, but meets poetic justice.
Tell us about your cover. Did you design it yourself? The inspiration for this book cover comes from the story itself, and my knowledge of solar phenomena at Palenque. I had the cover designed and completed by a graphic artist before I started writing the book, although I had already conceptualized the story. I knew how the story would end, and the cover depicts the final scene in which K’inuuw Mat stands on the top step of the Sun Temple built by Kan Bahlam. She honors him and his genius while symbolizing the continuous cycles of Mayan culture. I sent a sketch to my artist, gave him pictures of the temple, solar phenomena, and depictions of K’inuuw Mat on tablets at Palenque. He did a magnificent job! –
continued to be an enigma to archaeologists for nearly two decades after her tomb was discovered in Temple XIII at Palenque in 1994. Her skeleton and inside of her sarcophagus were coated with red cinnabar, a mercuric oxide preservative used in royal burials. This led archaeologists to nickname her “The Red Queen.” It also made analysis of her bones and teeth difficult, and many years passed until scientific techniques advanced enough to provide reliable data. The lack of inscriptions and the sparse ceramic evidence found inside her tomb further muddied the waters. Most Mayan royal tombs contained carved or painted hieroglyphs identifying who was interred. The adjacent pyramid tomb of K’inich Janaab Pakal in Palenque was full of hieroglyphic records; his ancestors were carved on the sides of his sarcophagus, important gods and mythohistoric figures were painted on the crypt walls, and the sarcophagus lid clearly identified him. Numerous ceramic offerings allowed dating of the interment to the late 600s AD.
The situation of the Mayan Red Queen was quite different. Her sarcophagus contained no inscriptions, the crypt walls were bare, and ceramics few. The shape and characteristics of the censer, vases and plate found in her tomb corresponded to the Otolum ceramic complex, which has been placed between 600-700 AD. Her life overlapped with that of Pakal, and her pyramid tomb adjoined his, so it seemed evident that there was an important connection between them. Additional corollaries in their burials include a monolithic lidded sarcophagus inside a mortuary crypt, jade masks, diadems, jade beads, pearls and three small axes in a ceremonial belt. Both skeletons and insides of their sarcophagi were painted red with cinnabar. Two significant women in Pakal’s life died in that time period: his mother Sak K’uk and his wife, Tz’aakb’u Ahau. Some archaeologists believed the Red Queen was his mother; others favored his wife. In 2012 the mystery was most probably solved when DNA studies revealed that The Red Queen and Pakal did not share common DNA. This was further supported by strontium isotopes studies conducted a few years earlier showing that the two grew up in different areas within the region. Now most agree that Pakal’s wife, Tz’aakb’u Ahau, was interred in Temple XIII and she is The Mayan Red Queen.
What do we know of her life?
Unfortunately, very little evidence has been found so far. Palenque is famous for its high quality, graceful hieroglyphs and realistic carved figures. The Three Tablets of the Temple of the Inscriptions (Pakal’s burial pyramid) contain 617 glyphs, one of the longest Maya inscriptions known. The West Tablet, covering the later years of Pakal’s reign, contains two references to her:
“Seventeen days after the 3 Ahau 3 Uayeb (Period Ending), Lady Tz’aakb’u Ahau was married on 7 Caban 15 Pop.”
“Forty-seven years after she became queen, Lady Tz’aakb’u Ahau passed away on 5 Etznab 6 Kankin.”
These follow lengthy descriptions of actions taken by Pakal, and the dates are tied into the Long Count calendar by use of a Distance Number to the nearest Period Ending, which was 220.127.116.11.0 (3 Ahau 3 Uayab) or 626 AD. These later passages of the West Tablet were commissioned by their oldest son, K’inich Kan Bahlam II, after his father’s death. He recorded the marriage and deaths of his mother and father.
Tz’aakb’u Ahau is depicted in carvings on two tablets from Palenque. The Palace Tablet has carved relief figures showing her third son, K’inich Kan Joy Chitam II, seated on a double-headed serpent bar, receiving the headdress of royalty from his father Pakal, as his mother (Tz’aakb’u Ahau) offers him the god-figurine symbol of divine ancestry. This large tablet filled with rows of hieroglyphs originally adorned the rear wall of the Palace’s northern gallery, Houses A-D. The Dumbarton Oaks tablet shows a young K’inich Kan Joy Chitam II dancing in the guise of the rain god, flanked by his mother and father. This is the only surviving part of a larger composition that probably was surrounded by glyphs. The stone tablet was illicitly removed from an unknown temple in the mid-20th century; it now resides in Washington, DC.
Such fragments of evidence give a little knowledge of The Mayan Red Queen’s life: she came from a nearby city, married Pakal in 626 AD, bore him four sons, participated in accessions rituals symbolically after her death, and died in 672 AD, eleven years before Pakal’s death in 683 AD. She was buried regally in a smaller temple adjacent to Pakal’s.
Would you like to know more about what her life might have been? Her imagined story is told in my historical fiction book The Mayan Red Queen: Tz’aakb’u Ahau of Palenque.
Silver Medal Winner 2016 Global Ebook Award!