Chapter 9 

In this chapter of Ismail Kadare's "The Pyramid," the narrative explores the impact of a mysterious investigation centered around a specific stone within the pyramid. The winter is called "the winter of universal suspicion," and the investigation causes paranoia and chaos among the people. The investigation is localized within the pyramid, and the clues are sought between the one hundredth and one hundred third steps, creating a sense of urgency and tension.

The investigation is of middling scope, going back approximately seven years, and its uniqueness lies in being located in both real and unreal spaces simultaneously. The chapter details the struggles of the people to identify the specific stone involved in the investigation, with rumors and false information adding to the confusion.

The investigation spreads anxiety, causing people to reminisce about their past actions and fear potential consequences. The narrative explores the psychological toll on the individuals involved, depicting their desperate attempts to avoid being implicated. The investigation expands, involving a multitude of people, both those who worked on the pyramid and those who did not.

As the investigation proceeds, there are discussions about the ambiguous nature of the stone's identification, leading to further confusion and chaos. People roam the pyramid, searching for their own stones or rows, and the atmosphere becomes tense and surreal. The narrative touches on the psychological effects of the investigation, portraying the shifting emotions of the people involved.

Old legends about the pyramid take on new interpretations, and there's a growing sense that something malevolent is happening within the pyramid. The investigation continues with the submission of evidence, including various objects and documents of uncertain relevance. The selection and sorting of evidence appear arbitrary, adding to the overall sense of disarray.

The chapter concludes with the ongoing mystery of the investigation, leaving the people of Egypt in a state of heightened anxiety and uncertainty. The pyramid, once seen as a symbol of balance, now becomes a source of suffering and turmoil for the population. The narrative captures the psychological and emotional turmoil of the characters as they grapple with the consequences of the investigation.

Chapter 10

In this chapter of Ismail Kadare's novel "The Pyramid," the completion of the pyramid in ancient Egypt is announced to the inhabitants of the capital. The focus shifts from the external construction to the mysterious activities inside the pyramid. Workers, referred to as "dead men," face relentless interrogations and suffer from migraines. The narrative suggests a predetermined fate for these workers, as if their deaths were part of the sacred formulas of the pyramid.

As the pyramid nears completion, the workers who survive are separated, some chosen to be spared. The reprieved individuals are taken away in covered wagons, anticipating a future connection to the Pharaoh. Meanwhile, the public's attention is divided between the completed pyramid and its mysterious counterpart, creating confusion about which is the real pyramid.

The chapter explores the psychological impact of the pyramid's construction on the workers and the society. There is a sense of foreboding, and festivities expected for the pyramid's inauguration are replaced by a grim warning. Families receive the excised tongues of the reprieved workers, delivered with a pharaonic emblem, emphasizing the authoritarian control and the consequences of defiance.

Memphis, the capital, experiences a deep silence, not only out of fear but also due to a growing sense of discretion. Even rumors and panic-inducing bureaus become tongue-tied. The silence extends to the investigations, with files gathering dust, and prosecution witnesses aging rapidly.

Visitors to the pyramid seek out the rows associated with their denouncements or accusations, reflecting the pervasive atmosphere of suspicion and fear. The intelligence service, responsible for maintaining order, is depicted as sluggish, and the reasons behind the silence on both sides remain enigmatic.

Kadare weaves a narrative that delves into the psychological and social consequences of constructing the pyramid, with a blend of mystery, foreboding, and the oppressive control of the Pharaoh's regime. The completed pyramid stands as an ominous symbol, casting a shadow over the capital and its inhabitants.

Chapter 11

In this chapter of Ismail Kadare's novel "The Pyramid," Pharaoh Cheops experiences profound sadness after the completion of the pyramid. He confesses to the magician Djedi that the colossal structure now draws him with an irresistible force. The Pharaoh contemplates leaving, feeling a strange call from the pyramid, yet he is conflicted about moving into it or abandoning his current existence.

Cheops seeks solace from Djedi, who delves into discussions about a man's doubles, his kâ and bâ, and the significance of shadows and names. The Pharaoh expresses distress and contemplates his own mortality. He even raises the idea of cheating the pyramid by using a different mummy, hinting at the desperation he feels to escape its influence.

As Cheops becomes increasingly disturbed, Djedi attempts to reassure him, stating that the pyramid can wait. However, the Pharaoh insists that it cannot, revealing his deteriorating mental state. Despite Djedi's efforts to dissuade him, Cheops, accompanied by a minimal escort, goes to the pyramid one night to confront it.

The narrative unfolds with a sense of impending doom, portraying Cheops' descent into madness and obsession with the pyramid. He dies three years after the completion of the pyramid, and his embalmed body is placed within the structure. The pyramid, now housing his mummy, stands triumphant in the sunlight.

The chapter explores the psychological impact of the pyramid on Cheops, depicting his internal struggle and eventual demise. It also introduces the new Pharaoh, Didoufri, and Cheops's daughter, Hentsen, who expresses her desire to build her own pyramid. The story ends with Chephren, Cheops's younger brother, harboring jealousy and resentment as he dreams of his own future reign and pyramid.

Kadare weaves a tale of power, obsession, and the haunting influence of monumental structures, portraying the emotional toll on those connected to the pyramid in ancient Egypt. The narrative reflects on the cost of ambition and the oppressive weight of legacy. 

Chapter 12
In this chapter of Ismail Kadare's novel "The Pyramid," the focus is on the profanation of the pyramids by grave robbers. The pyramids are depicted as celestial gobetweens, capturing the moon's glow and transmitting it to the depths of the earth. The narrative highlights the dual nature of these structures, emitting both light and darkness.

The pyramids of Cheops, Chephren, and Didoufri are described, with emphasis on their proximity and the intriguing connection between them. The female pyramid, associated with Hentsen, is the first to be targeted by robbers. The decision is made based on the perceived vulnerability of this tomb, attributed to its construction by Hentsen's lovers.

The robbers, equipped with crowbars and canvas masks soaked in vinegar to protect against the smell of mummies, break into the female pyramid. The narrative takes a dark turn as they describe the process of opening the sarcophagus, looting precious objects, and contemplating the mummy. The atmosphere is tense, with the robbers wrestling with their fears and reactions to the desecration.

Following the success of their intrusion, the robbers, despite initially swearing off such acts, succumb to the allure of pyramid robbery once again. This time, they prepare more thoroughly, crafting masks to shield against the smell. Their choice falls on Didoufri's pyramid, perceived as less likely to attract attention.

As they break into Didoufri's pyramid, the robbers, now more experienced, encounter challenges but successfully open the sarcophagus. A revelation occurs when one of the robbers, One-eye, examines the mummy and discovers marks indicative of strangulation. This revelation shocks the group, and tension rises as they grapple with the implications of a Pharaoh having been murdered.

Bronzejaw, the leader of the robbers, vehemently discourages any involvement with political matters, emphasizing the dangers associated with such intrigue. The chapter ends with the robbers leaving the pyramid, disturbed by the revelation and haunted by the sphinx's gaze.

Kadare weaves a tale of grave robbing intertwined with political undertones, introducing a mystery within the ancient Egyptian context. The chapter explores the consequences of violating sacred tombs and the potential repercussions of discovering political secrets hidden within the pyramids.

Chapter 13 

In this chapter of Ismail Kadare's novel 'The Pyramid,' the narrative delves into the aftermath of a daring act – the robbery of mummies from a pyramid. The story unfolds with a lightning strike that fails to harm the pyramid, revealing an apparent mystical protection. However, it becomes clear that the inviolability is not divine but a result of a secretive burglary conducted years earlier.

The plot takes a surprising turn when a group of scribes is arrested, not for intellectual offenses but for their involvement in the mummy theft. The arrested historians claim their inspiration came from a conversation with grave robbers, leading to a revision of historical perspectives. As the investigation progresses, it's discovered that the scribes aimed to examine the mummies' organs for evidence that could reshape the kingdom's history.

The narrative introduces a new truth-extraction device and details about the thieves' attempt to conceal their crime. The historians' plot involves questioning the official history by scrutinizing the mummies' remains, creating titles like "History as Revised and Corrected by the Mummies." The public reacts with horror to the sacrilege, contemplating the robbers' intentions, including burning the mummies or showcasing them abroad.

The secrecy surrounding the case dissipates, and the citizens grapple with the implications. Doubt emerges about the pyramids themselves, with some questioning their existence and others speculating on their true nature. The public discourse becomes a battleground of opposing views, leading to unprecedented chaos and confusion.

The discontent expands to Cheops, whose pyramid is criticized not only for its size but also for the perceived injustice in the sentencing of individuals involved in its construction. Graffiti and insults directed at Cheops become more audacious, reflecting a growing dissatisfaction with the established order.

The narrative skillfully weaves elements of mystery, conspiracy, and public unrest, creating a complex tapestry of historical revisionism and societal upheaval. The chapter ends with an ominous dream about Cheops's pyramid covered in snow, hinting at an impending change or disruption linked to the pyramid's mysterious connection with the outer world.

In summary, this chapter explores the consequences of a clandestine act against the pyramid, intertwining historical revisionism with a public awakening that challenges established norms. The narrative deftly captures the tensions between authority and dissent, tradition and innovation, as characters grapple with the profound implications of rewriting their history.

Chapter 14 

In this chapter of Ismail Kadare's novel 'The Pyramid,' the narrative explores the aging process of the pyramid of Cheops. The author describes how each stormtossed generation in Egypt, when observed closely, appears distinctive, yet to an outside observer, these generations are as similar as desert dunes. The pyramids, symbolic and unchanging, serve as the constants in the ebb and flow of history.

The emotions the pyramids evoke in people are cyclical, ranging from admiration to indifference, hatred, fury, veneration, and back again. Despite the discontent the pyramid of Cheops provokes, it does not prevent the construction of other pyramids. However, subsequent Pharaohs refrain from building taller structures, perhaps fearing the societal repercussions.

The narrative introduces a peculiar character who appears before Cheops's pyramid on February 14th. The man, seemingly mentally disturbed, expresses his intention not to damage but to bury the pyramid. He insists that the pyramid is dead and needs burial like any other corpse. He engages in detailed calculations about the dimensions of the trench required and the natural wastage of the pyramid over time.

The chapter unfolds the subtle aging of the pyramid, with the first visible signs being the loss of its white sheen, turning to a dull pink. Over centuries, erosion becomes perceptible, starting with the gray discoloration of stones and progressing to mauvish-gray streaks, blisters, and irregular patterns of decay. The signs of aging become more evident after a thousand years, with spongy patches, cracks, channels, holes, and slippages appearing on different faces.

Notably, a stone on the north face gains attention due to erosion that seems to create human features. There is debate about whether to intervene and speed up the emergence of the face or wait for it to happen naturally. The Pharaoh's eagerness for an omen clashes with the High Priest's caution against profaning the pyramid.

Although people remain largely unaware of the pyramid's aging, a Greek mission declares upon seeing it from a distance that it has begun to grow old. This statement spreads a sense of realization among the people, and they start noticing wrinkles on the pyramid's faces, akin to eczema-damaged skin.

The chapter concludes with a reference to the dream of a pyramid covered in snow, suggesting a shadow falling on the entire terrestrial orb, hinting at a profound transformation linked to the pyramid's enigmatic connection with the outer world.

This chapter explores the evolving perceptions of the pyramid of Cheops as it ages, revealing signs of decay and prompting philosophical reflections on its symbolic and historical significance.

Chapter 15


In this chapter of Ismail Kadare's 'The Pyramid,' the narrative shifts to the steppe of Isfahan in deepest Asia, where Timur the Lame, a potentate, constructs a pyramid made of severed heads, akin to the pyramids of Egypt. Despite the difference in materials, the similarities between the two pyramids are striking, from the plan to the number of faces.

Timur's pyramid is built with seventy thousand heads gathered from various battlefields, and inspectors ensure that only male heads are included, though attempts at deception occur. The heads are strung together to prevent disintegration by wind or wolves. The chapter describes the construction process, the shortage of heads for the vertex, and the use of an idiot named Mongka's lead-covered head as the pyramidion.

As winter approaches, the pyramid stands in the steppe, deserted after Timur's army moves on. The area becomes desolate, with crows and jackdaws picking at the eyes of the outward-facing heads. The chapter details the impact of winter on the pyramid, including the lightning that strikes the leaded head, creating spikes and an eerie appearance in the eye-sockets.

The narrative introduces the notion that the pyramid will grow a beard, connecting it to a prophet's prophecy from four thousand years earlier. Pilgrims express horror at the sight, but some claim the appearance of hair fulfills the ancient prophecy.

The pyramid becomes a source of terror, spreading panic and loathing, considered by many to be more authentic and fearsome than Cheops's stone stack. Timur, proud of his creation, empowers others, including his sons and generals, to build their own pyramids. These head piles spread fear, and older ones transform into skullstacks.

The chapter concludes with Timur reflecting on his pyramid's gradual decline, marked by the leaden head's split and wild beasts tearing out tufts of hair. Timur contemplates the ephemeral nature of his creation compared to Cheops's enduring stone stack. He expresses a desire to dismantle the Egyptian pyramids, especially Cheops's, and replace them with skullstacks to assert the true pyramid's identity.

Timur, however, is preoccupied with his Chinese campaign, and as he contemplates these grand plans, feverish and unwell, he struggles with thoughts connecting wire threads, lightning, and his own orders. The narrative hints at his deteriorating mental state as he faces both physical and existential challenges.

This chapter explores the construction and aftermath of Timur's pyramid of severed heads, drawing parallels with the Egyptian pyramids and delving into the psychological impact of these macabre structures on the people and the potentate who conceived them.

Chapter 16 

In the epilogue of Ismail Kadare's 'The Pyramid,' the narrative shifts to the aftermath of Timur the Lame's funeral. After Timur's death, there is no longer any concern about maintaining his skullstacks—piles of skulls that constituted around one million heads. These macabre structures, once terrifying and prolific, vanish within a few years due to the decomposition of soft tissues causing mortar fissures, rusting wires, and eventual collapse. Winter storms and wild animals contribute to the destruction, leaving no trace of the once-feared monuments.

Despite their physical disappearance, these skullstacks gain mythical stature in the memories of men, becoming even more formidable in hindsight. The text then mentions the descendants of the original pyramid of Cheops, likening them to cosmic offspring. In this context, the descendants are referred to as "bunkers" in the land of Albania, previously belonging to the Illyrians. These bunkers, though physically smaller, carry the terror and madness inspired by the mother-pyramid. The term "Unity" inscribed on their surfaces symbolizes a connection to both the mother-pyramid and Timur's skullstacks.

The narrative suggests a cyclical nature to pyramidal phenomena, with the appearance of bunkers and similar structures occurring without a precise schedule. Time itself is portrayed as fluid, possibly moving backward or forward like a crab, challenging conventional notions of past and future.

The epilogue concludes with the mention of a fair-haired tourist's wish for the pyramid to become transparent, revealing everything inside, including sarcophagi, mummies, and an indecipherable puzzle. The pyramid appears to comply with the wish, turning hazy as if made of glass. However, a blemish, later revealed to be an indelible bloodstain, persists on the pyramid's surface. The scene leaves an unsettling and enigmatic impression, hinting at the enduring presence of dark histories beneath the surface.

The text closes with a reference to Tirana and Paris, suggesting the years 1988-1992. This timeframe, along with the use of specific locations, adds a layer of ambiguity and invites readers to contemplate the connection between historical events and the narrative's symbolic elements.

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