
In the Egyptian wing of the Brooklyn Museum my young son stands before a beautiful coffin containing the body of woman named Gautseshenu. Her name means “bouquet of lotuses,” though neither of us can pronounce it. After a couple bumbling tries we stop, me out of embarrassment and him because her name is not the point, and the whole idea here is still so very, very strange.
How old? he asks again.
Almost 3,000 years, I say.
And how old am I?
He knows. He’s just checking against a void of time he can feel but make no sense of. The numbers, after all, mean nothing. Nor do the dynasties, the stories of the gods, the practical matters of corpse conservation. Some much more fundamental attraction is unfolding, and it’s linked to this: just beyond a few layers of linen, gesso, and paint, is a body. And just beyond that is the world of the dead. I’ve now watched this odd magic work its irresistible charm on both this son and his older brother—as well as hundreds of other kids who’ve stood beside us at various museums, staring at the mummies and tapping on the glass, weekend after weekend, year after year.
A couple of decades ago Gautseshenu and other mummies here in Brooklyn were pulled from their galleries and returned to storage, away from the view of visitors. According to the museum’s web site, it had something to do with respect, or at least a reconsideration of what we think we’re trying to accomplish when we put the old dead on display. The mummies have been back for many years, though, and there have even been some relatively new discoveries made from them: at least two of the Brooklyn mummies were long mis-gendered as women, and are today—after CT scans—understood to be men.
There is also now a quiet acknowledgment in the gallery of the fact that so puzzles and fascinates my sons: rich and exotic as they appear, colorful as carnival prizes, inside each of these packages are the remains of an actual person. Someone who assumed (or at least hoped) that after death they would spend eternity undisturbed. A sign at the entrance to the mummy chamber asks you to remember this, but my son, only 5, cannot yet read.
And yet it comes up. I’ve actually found questions about dignity and propriety to be among the first kids ask about the dead-on-display—once they get past the goosebumps. Years ago at the Met my eldest son paused, stood up from his examination of a mummy, and said, Why are they here? Did they know they would be? Now, before Gautseshenu, my middle son wants to know, Where is her family? Each question, in its way, is about belonging, but also consent—something we may never ask of the old dead.
For a while on this late Saturday morning my son and I have the gallery nearly to ourselves. He wants to race to the mummies, to blast thought centuries and get to them. I try to slow him down, pull him toward statues and jewelry, scarabs and sphinxes. But there’s no tempering the allure of death, and soon we’re in the mummy chamber.
Here, he learns to identify Anubis, Osiris, Horus, heavy-hitters of the Egyptian pantheon, and moves from object to object, sarcophagus to cartonnage, finding them easily. Against the glass of the cases he traces hieroglyphs. And he squints skeptically at the eye painted on some of the coffins, through which the dead were believed to see: a kind of window onto the world they were leaving behind.
Can they really see us? he asks.
Silently I think, I hope not. Out loud I just say, Maybe.
He takes a step or two back, measuring the distance again between himself and the dead. Then, before he bounds away, he holds up a finger and wags it the mummy, as if to say, Oh no you don’t.







