Hatshepsut, Speak to Me, Ruth Whitman's eighth volume of poetry, is her most innovative and adventurous book. It is in the form of a conversation with Queen Hatshepsut, the only woman pharaoh in ancient Egypt, whose reign of more than twenty years was one of the most peaceful and artistically splendid eras in Egyptian history. As poet and pharaoh talk to each other, it becomes apparent that the two lives intersect remarkably across the centuries. Both must face problems of sexual identity, love, work, mothering, conflict, and loss. An admirer of Hatshepsut for the past forty years, Whitman has spent the last five researching the pharaoh's life and surrounding culture, visiting Egypt twice in order to study the landscape along the Nile to contemplate Hatshepsut's monuments, particularly her spectacular three-tiered temple at Deir el Bahri in the Valley of the Kings. The result is a vibrant glimpse into two parallel lives, illustrating a unique relationship between two women separated by twenty-five centuries, and illuminating many of the issues relevant to every contemporary woman's experience. Whitman goes beyond just telling Hatshepsut's story. She connects herself with the life of her subject, speaks to her, and learns from her. Hatshepsut, Speak to Me represents a culmination of Ruth Whitman's series of groundbreaking narrative poems written in the voices of other extraordinary women-Lizzie Borden, Tamsen Donner, Hanna Senesh, Anna Pavlova, and Isadora Duncan.

HATSHEPSUT, QUEEN TO KING, is a historical novel, geared to adult readers, telling the story of a remarkable woman who ruled Egypt about 1500 years before the more well known Cleopatra, and was, by most accounts. considered to be the greatest female ruler in history. Hatshepsut's "peaceful" reign was in Egypt's 18th Dynasty. She opened trade routes with other countries, re-opened the Sinai mines for gold, and vigorously promoted Egypt's agriculture and the arts, particularly architecture.

An engrossing biography of the longest-reigning female pharaoh in Ancient Egypt and the story of her audacious rise to power. Hatshepsut—the daughter of a general who usurped Egypt's throne—was expected to bear the sons who would legitimize the reign of her father’s family. Her failure to produce a male heir, however, paved the way for her improbable rule as a cross-dressing king. At just over twenty, Hatshepsut out-maneuvered the mother of Thutmose III, the infant king, for a seat on the throne, and ascended to the rank of pharaoh. Shrewdly operating the levers of power to emerge as Egypt's second female pharaoh, Hatshepsut was a master strategist, cloaking her political power plays in the veil of piety and sexual reinvention. She successfully negotiated a path from the royal nursery to the very pinnacle of authority, and her reign saw one of Ancient Egypt’s most prolific building periods. Constructing a rich narrative history using the artifacts that remain, noted Egyptologist Kara Cooney offers a remarkable interpretation of how Hatshepsut rapidly but methodically consolidated power—and why she fell from public favor just as quickly. The Woman Who Would Be King traces the unconventional life of an almost-forgotten pharaoh and explores our complicated reactions to women in power.

Makare Hatshepsut reclined on her couch, smiling. "The king is dead!" she cried, "And I am alive. Now I will reign supreme!" "Impossible, beloved," old Senmen warned. "You must marry the boy." At this Hatshepsut laughed aloud and proceeded to get her own way. Queen by right of birth, the favourite daughter of Thutmosis I, she was married to Thutmosis II to safeguard the throne. Now, thirteen years later, she is expected to marry Thutmosis III, a mere child. She refused and herself took the throne. Her reign was characterized by great expansion of trade and a time of peace in the land. One dignitary of the queen's entourage stood entirely alone. The chief of chiefs of work, the royal chancellor, the grand steward, Senenmut. Hatshepsut came to live only for him and it was to him she cried as she took the poisoned cup. Hatshepsut left behind an imperishable monument, the 'Sublime of Sublimes', the temple at Der el-Bahri.

Ancient Egypt 3500 years ago - a land ruled by the all-powerful female king, Hatshepsut. Ambitious, ruthless and worldly: a woman who established Amun as the chief god of Egypt, bestowing his Priesthood with unprecedented riches and power. This is a story of vision and obsession, of mighty projects and heartbreaking failures - the story of a woman possessed by the desire for power and the need to love.

The year is 1477 B.C.E. and history is about to change… Hatshepsut, the Great King’s Wife, is thrust into a world of intrigue and politics when her husband, Pharaoh Thutmose, dies suddenly, leaving Egypt with an heir who is barely two years old. The Queen must step into the role of leader, and there are few she can trust. When Hatshepsut is crowned as Pharaoh, she grooms her daughter, Neferure, to take the place of heir, rather than Thutmose’s infant son from another woman. Neferure, though young, is still older than the boy who should by all rights be king. The future of Egypt rests in the hands of a single woman, the most powerful woman in the ancient world. Can Pharaoh Hatshepsut’s people accept her unorthodox reign, and her plans to usurp the men’s place as rulers of a Kingdom, decreeing that only women are suitable leaders?

Hatshepsut, as a historical novel, covers the life and struggles of a Princess of the Eighteenth Dynasty in Egypt as she uses her cunning and intelligence to move in a world of men only. Her understanding of power and her schemes to get it aided her in becoming the greatest female Queen/Pharaoh in Egypt's history. This author believes her to be the princess who drew the Prophet Moses from the Nile River. The newest discoveries in Egypt of a tombs of the Pharaoh may soon have more to say about this fascinating Queen.

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There’s fire in what slips from her lips, this woman that might not even exist. So much passion and way too much aggression, trying to teach me a lesson. What if your dreams were really a reality, an old life, or an alternate path based on a technicality? Her eyes, the eyes of a tiger, burned into the back of Devin’s mind after waking from that same nightmare, but the question upon waking is who is she and why is this happening? Who is this mystery woman? Devin is your average college student, with dreams of seeing the world with her camera and her two best friends. Her past isn’t the most pleasant, but she grew up surrounded by love and compassion and won’t let anything stand in the way of her goals, and that includes dating. Women are a distraction, and honestly, Devin didn’t know she needed one until she “bumped” into Amirah. Confusion sets in when friendship turns to feelings and Amirah being in a long-term relationship, but the confusion was overshadowed by anger and frustration as it turns out Devin and Amirah have a complicated history. As the truth slowly comes out, Devin learns she’s not who, or even what, she thinks she is and there’s more to her story. She must embark on a journey of love, betrayal, and discovery in order to understand that she is the key to changing everything around her. Primal instincts set in when she discovers whom those eyes belong to and wrongs must be righted, but what would you expect if you found the woman of your dreams?

Creativity and the Poetic Mind mingles the voices of well-known writers such as Nikki Giovanni, Donald Hall, John Koethe, Marge Piercy, and Robert Pinsky with newer voices, and includes engaging excerpts from interviews with thirty-eight American poets. Within a sustained argument about creative states of mind, this book innovatively presents and explores the technique of «going to the place» as more reliable in writing poetry than waiting for «inspiration». It explains why poets frequently believe that talking about their own poetry may damage their creativity and why, for centuries, inspiration has seemed to come from somewhere beyond the poet. In addition, it discusses the practicality of poets' thinking that «being creative» and «writing poetry» are two separate skills: inspiration is unreliable, but experienced poets create daily.