In his book "Dinner with King Tut: How Rogue Archaeologists Are Re-creating the Sights, Sounds, Smells, and Tastes of Lost Civilizations" (Little, Brown and Co., 2025), author Sam Kean delves into the overloaded sensory world of experimental archaeology practitioners. Along the way, he learns to knap a stone tool like early Homo sapiens did, create an intricate hairstyle that would make a Roman woman proud, tattoo someone using ancient tools, play an Aztec ball game, and bake the kind of sourdough loaf that King Tut once ate.
Kristina Killgrove: What intrigued you about experimental archaeology?
Experimental archaeology seemed like a lot more lively, sensory-rich field because archaeologists in this field are actually doing things. They're re-creating stone tools, making ancient foods. You can smell the past. So it was just a lot more exciting way for me to get into archaeology.
SK: Each chapter is set in a different time and place, so you're really immersed in a day in the life of that person. There was a lot of reading about traditional archaeology and what we've learned from that, because we have learned a lot from it. But then I would go talk to experimental archaeologists and go through the process of brain-tanning leather or getting on a ship that they would have sailed on, and I just experienced it in the way that they're doing their research and experienced it more like people would have in the past too.
SK: There's a guy out in Utah who built a trebuchet — a giant medieval catapult. It was about 30 or 40 feet [9 to 12 meters] tall, I think. And we just spent a lovely day flinging these giant garden stones around at this palisade that he had built, as a stand-in for a fort, essentially. And we just spent a day flinging these huge stones at this fort and watching it smash in and splinter the wood and try to destroy this little fort. Getting to pull the trigger on this catapult — it was just like this majestic dragon coming to life, almost, as it started to fling these balls. And it was like a whip cracking of the sling as it would fling the stone out. That was just a really lovely memory, partly because everything worked properly that day.
KK: That sounds so cool! And in the excerpt that we are publishing on Live Science from your book "Dinner with King Tut," you talk to people who used ancient Egyptian mummification techniques on a real human body. What did you learn from talking to these people? And did you get to try mummifying a body yourself?
But, of course, the thing that really intrigues us about ancient Egypt are the human mummies. And everyone thought we couldn't actually make a human mummy until two guys did in the '90s. It was one Egyptologist [Bob Brier] and the guy who was in charge of the Maryland state anatomy board [Ronn Wade], who got to decide where cadavers went that had been donated to science. He decided this was a worthwhile project.
KK: Did these researchers learn more than what is in the historical records? What did they learn from doing this themselves?
One thing that sticks out in my mind that I was surprised about is how they used authentic tools. Archaeologists have found obsidian blades with mummies — those are volcanic glass — and they found copper tools associated with them. So, when these guys were trying to open the body up initially, it turned out that the copper blades they had were not good at all. They could not get through the skin and the muscle of the abdomen very well. The obsidian tools turned out to be much better at that task, which surprised me. I wouldn't have thought that the stone tools would have been better than the metal tools. That's something we wouldn't have learned had we not gone through the process.
KK: That's amazing that this controversial experiment produced new knowledge. You mentioned you mummified something — tell me about it.
KK: Then I guess the real question is, did you eat that fish that you mummified?
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SK: What I really value about experimental archaeology is that it's pretty immersive, especially the sensory aspects of it. You do get to feel — to some degree, at least — that you are there and that you are doing the things that people back then were doing. I thought that fiction would allow me to take that even one step further and really get in the minds and be in the world that those people lived in. So you get to wake up where they did, eat the foods that they did, and experience their society. Something like religion or their beliefs in the supernatural or spiritual beliefs are not going to be amenable to experimental archaeology, but you can do that in fiction. And so it allowed me to take it one step further, and it was just fun to try and fun to write as well.
SK: I think I could do it if I wanted to revisit it because there were other cultures that, for various reasons, I decided to not include. People are doing work in ancient Greece, but that didn't make it into the book. I do have one chapter in sub-Saharan Africa tens of thousands of years ago, but that was the Cradle of Humankind. I could certainly do other aspects of that. There's definitely fodder out there for another book, especially as these techniques get more accepted. It has been heartening to see that people are more accepting of experimental archaeology, and even people on traditional digs now are running maybe an experiment or two. So they're not going all the way to experimental archaeology, but they're incorporating these practices.
And I have a new book coming out in the fall called "The Museum of Lost Things: True Tales of Fabled Treasures, Legendary Cities, and Mythical Creatures That Vanished From History" [National Geographic, 2026]. It's about the greatest lost treasures in history and has some interesting archaeological angles in there.
Editor's note: This interview has been edited and condensed for clarity.
Dinner with King Tut: How Rogue Archaeologists Are Re-creating the Sights, Sounds, Smells, and Tastes of Lost Civilizations -- $17.24 on AmazonFrom “one of America’s smartest and most charming writers” (NPR), an archaeological romp through the entire history of humankind—and through all five senses—from tropical Polynesian islands to forbidding arctic ice floes, and everywhere in between.View Deal
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