Having plenty of time left until we were to meet back with the group and driver, my friend exclaimed, "Oh let's ride a camel!"
She pointed to an area where local men offered tourists rides on the classic desert creature. Her mother took the lead and asked one of the men how much the rides cost.
'Free to go, madam. Special for you."
"How much does it cost?" she reiterated, suspiciously aware that nothing in life is ever free.
"Free, free, you get on!" The man almost shouted at her but smiled gently at the same time.
She shrugged her shoulders, watching a couple of other tourists looking giddily happy on board their beasts of burden. Everyone seemed happy. Maybe this was just one of those nice gestures governments do to promote tourism, lik 'Alright," she said, for all three of us. She gestured to me and my friend.
"Yes, yes, come along."
The man hoisted us, one at a time, on our very own camels. Two of his friends rushed over to help. The dromedaries were huge, much larger than they seemed in the photographs I had seen, just as the pyramids surpassed my expectations. Their hides were rough like beaten up burlap sacks, and they had no tenderness to them, no soft...
Contemporary American travel literature illustrates convergences of time and space, creating a borderless and timeless mode of narration. Granted, American travel narratives do not offer the same sort of epic and sweeping scope that epitomize classic works like that of Ibn Battuta and Basho. Contemporary American travel literature is imbued with American mythos. Moreover, contemporary American travel literature demonstrates postmodern tropes and conventions including a strong sense of uncertainty and
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