Drawing on his knowledge of Africa and of ancient legends, Haggard weaves this disturbing tale of Ayesha, the mysterious white queen of a Central African tribe. She, or "She-who-must-be-obeyed," is the embodiment of the mythological female figure who is both monstrous and desirable, and deadlier than the male.
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Ayesha is She-Who-Must-Be-Obeyed, a 2,000-year-old queen who rules a fabled lost city deep in a maze of African caverns. She has the occult wisdom of Isis, the eternal youth and beauty of Aphrodite, and the violent appetite of a lamia. Like A. Conan Doyle's Lost World, She is one of those magnificent Victorian yarns about an expedition to a far-off locale shadowed by magic, mystery, and death.
Tim Stout writes, in Horror: 100 Best Books, "As the plot takes hold one has the fancy that [Ayesha] had always existed, in some dark dimension of the imagination, and that [H. Rider] Haggard was the fortunate author to whom she chose to reveal herself." Haggard did, in fact, write this book in a six-week burst of feverish inspiration: "It came faster than my poor aching hand could set it down," he later said.
This edition of the 1887 classic features an introductory essay by literary critic Regina Barreca, who likens Ayesha to Flaubert's Madame Bovary or Tolstoy's Anna Karenina--"literally fantastic female figures who must be stopped before they love again."
First published in 1886-87, H. Rider Haggard’s imperial romance follows its English heroes from the quiet rooms of Cambridge to the uncharted interior of Africa in search of a legendary lost city with an ageless white queen. The two men find their way to the ancient city of Kôr, where the beautiful and mysterious Ayesha, “She-who-must-be-obeyed,” rules. Despite her cruelty, both men become fascinated by Ayesha, who leads them on a harrowing journey to bathe in the underground “River of Life.” A thrilling "history of adventure," She also reveals the complexity of Victorian attitudes towards race, gender, exploration, and empire. This Broadview edition presents the novel in its original illustrated Graphic magazine version, never before republished, and includes a critical introduction and supporting materials that demonstrate the novel's relationship to late-Victorian issues such as imperialism, archaeology, race, evolution, and the rise of the "New Woman."
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