Ariana Franklin - Mistress of the Art of Death

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When Christian children are being kidnapped and murdered in 12th century Cambridge, England, Adelia is sent to seek out the truth, and hopefully absolve the Jews being blamed for the crimes, before the townspeople take matters into their own hands. During a time when women are second-class citizens at best, and the practice of scientific autopsies is considered blasphemous, Adelia is the most skilled “speaker for the dead” hailing from progressive Naples – yet she is forced to masquerade as the meek assistant to her colleagues during their frantic search for the real child killer.
From The Washington Post
It's hard enough to produce a gripping thriller – harder still to write convincing historical fiction that recreates a living, breathing past. But this terrific book does both, and does it with a cast of characters so vivid and engaging that you'd be happy to read about them even if they weren't on the track of a sexually depraved serial child-murderer.
Mistress of the Art of Death opens with a clever takeoff on Chaucer's Canterbury Tales, which introduces the central players, a group of pilgrims returning from the shrine of the newly canonized St. Thomas à Becket: a prior and a prioress (from rival abbeys); two knights, lately returned from the Crusades; an overweight but very shrewd tax collector; a gaggle of citizens; and three Gypsies, who are in fact secret investigators sent by the king of Sicily to discover the truth behind a series of gruesome murders near Cambridge.
Four children have been found dead and mutilated. The Jews of Cambridge have been blamed for the murders, the most prominent Jewish moneylender and his wife have been killed by a mob, and the rest of the Jewish community is shut up in the castle under the protection of the sheriff.
As the only group allowed to commit usury – that is, to lend money at interest – the Jews are prosperous, and thus the king of England considers them his prize cash cows. He wants them cleared of suspicion and released, so they can go back to paying him high taxes. To this end, he appeals to his cousin, the king of Sicily, to send his best master of the art of death: a doctor skilled in "reading" bodies. Enter Vesuvia Adelia Rachel Ortese Aguilar, 25, the best mistress of death that the medical school at Salerno has ever produced. With Simon of Naples, a Jewish "fixer," and Mansur, a eunuch with a mean throwing-ax, it's her job to find a murderer before he – or she – can kill again.
Adelia comes onstage when she meets the prior under dramatic circumstances on the road, saving him from a burst bladder caused by a swollen prostate by thrusting a hollow reed up his penis. Not every man would follow up on an introduction like this, but the prior wants the mystery solved, too – and if the solution happens to ace out the rival abbey, so much the better.
Adelia finds 12th-century England a barbarous place. England finds Adelia a jaw-dropping anomaly. And Franklin exploits the contrast brilliantly. We're on Adelia's side from the start, identifying with her quite modern sensibilities – but at the same time, as she begins to know the English inhabitants as people, we sympathize with them, too. And a small but nice romantic subplot develops as the celibate, married-to-science Adelia discovers to her horror that live bodies have minds of their own.
Though the story is set in Cambridge, the Crusades run through the culture. We see both the corruption and the idealistic faith of the period, and while the Jews come off by far the best, Christians and Muslims are portrayed with evenhanded understanding. Beyond this, the story's background is a wonderful tapestry of the paradoxes and struggles of the times: Christianity and Islam, Christians and Jews, science and superstition, and the new power of Henry II's rule of law versus the stranglehold of the Church.
There are also fascinating details of historical forensic medicine, entertaining notes on women in science (the medical school at Salerno is not fictional), and a nice running commentary on science and superstition, as distinct from religious faith. Franklin does this subtly, by showing effects, rather than by beating us over the head with her opinions. These are clear enough but expressed with artistry rather than political correctness.
Franklin likewise balances cynicism, humanity and objectivity well. Adelia feels horror, fury and sympathy on behalf of the victims and the bereaved, but she doesn't let that get in the way of finding the truth. And the story makes it clear that the motives of those who want a solution to the crime are not necessarily purer than the motives of those who want to conceal it.
Mistress of the Art of Death is wonderfully plotted, with a dozen twists – and with final rabbits pulled out of not one hat but two, as both the mystery and the romance reach satisfactorily unexpected conclusions. It's a historical mystery that succeeds brilliantly as both historical fiction and crime-thriller. Above all, though, Franklin has written a terrific story, whose appeal rests on the personalities of the all-too-human beings who inhabit it.
– Diana Gabaldon, author of a series of historical novels, including "Outlander" and "A Breath of Snow and Ashes."

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“Where are you staying, Doctor?” he asked her.

She looked at him as if she hadn’t seen him before. “What did you say your name was?”

He tried not to be irritated; from the look of her, she was even more weary than he was. “Sir Roland Picot, ma’am. Rowley to my friends.”

Of which, he saw, she was not likely to be one. She nodded. “Thank you for your assistance.” She packed her bag, picked it up, and set off.

He hurried after her. “May I ask what conclusions you draw from your investigation?”

She didn’t answer.

Damn the woman. He supposed that, since he’d written down her notes, she was leaving him to draw his own conclusions, but Rowley, who was not a humble man, was aware that he had encountered someone with knowledge he could not hope to attain. He tried again: “To whom will you report your findings, Doctor?”

No answer.

They were walking through the long shadows of the oaks that fell over the wall of the priory deer park. From the priory chapel came the clap of a bell sounding vespers, and ahead, where the bakery and brew house stood outlined against the dying sun, figures in violet rochets were spilling out of the buildings into the walkways like petals being blown in one direction.

“Shall we attend vespers?” If ever he’d needed the balm of the evening litany, Sir Rowley felt he needed it now.

She shook her head.

Angrily, he said, “Will you not pray for those children?”

She turned and he saw a face ghastly with fatigue and an anger that outmatched his. “I am not here to pray for them,” she said. “I have come to speak for them.”

Five

Returning from the castle that afternoon to the not inconsiderable house that had accommodated the succession of Saint Augustine ’s priors, Prior Geoffrey had yet more arrangements to make.

“She’s waiting for you in your library,” Brother Gilbert said curtly. He didn’t approve of a tête-à-tête between his superior and a woman.

Prior Geoffrey went in and sat himself in the great chair behind his table desk. He didn’t ask the woman to sit down because he knew she wouldn’t; he didn’t greet her, either-there was no need. He merely explained his responsibility for the Salernitans, his problem, and his proposed solution.

The woman listened. Though neither tall nor fat, in her eelskin boots, her muscled arms folded over her apron, gray hair escaping from the sweat-stained roll round her head, she had the massive, feminine barbarity of a sheela-na-gig that turned the prior’s comfortable, book-lined room into a cave.

“Thus I have need of you, Gyltha,” Prior Geoffrey said, finishing. “ They have need of you.”

There was a pause.

“Summer’s a-coming in,” Gyltha said in her deep voice. “Summer I’m busy with eels.”

In late spring, Gyltha and her grandson emerged from the fens wheeling tanks full of squirming, silver eels and settled into their reed-thatched summer residence by the Cam. There, out of a wonderful steam, emerged eels pickled, eels salted, eels smoked, and eels jellied, all of them, thanks to recipes known only to Gyltha, superior to any other and bought up immediately by waiting and appreciative customers.

“I know you are,” Prior Geoffrey said patiently. He sat back in his great chair and reverted to broad East Anglian. “But that’s dang hard work, girl, and you’re getting on.”

“So’re you, bor.”

They knew each other well. Better than most. When a young Norman priest had arrived in Cambridge to take over its parish of Saint Mary’s twenty-five years before, his house had been kept for him by a well-set-up young fenland woman. That they might have been more to each other than employer and employee had not raised an eyebrow, for England’s attitude toward clerical celibacy was tolerant-or slack, depending on which way you looked at it-and Rome had not then begun to shake its fist at “priests’ wives,” as it did now.

Though young Father Geoffrey’s waist had swelled on Gyltha’s cooking, and young Gyltha’s waist had swelled also, though whether from her cooking or something else, nobody knew the truth of it except those two. When Father Geoffrey was called by God to the canonry of Saint Augustine, Gyltha had disappeared into the fenland from which she had come, refusing the allowance offered to her.

“What iffen I throw in a skivvy or two,” the prior said now, winningly. “Bit of cooking, bit of organizing, that’s all.”

“Foreigners,” said Gyltha. “I don’t hold with foreigners.”

Looking at her, the prior was reminded of Guthlac’s description of the fen folk in whom that worthy saint had tried to instill Christianity: “Great heads, long necks, pale faces, and teeth like horses. Save us, from them, O Lord.” But they’d had the means and the independence to resist William the Conqueror longer and more strongly than the rest of the English.

Nor was intelligence lacking among them. Gyltha had it; she was the beau ideal as housekeeper for the ménage Prior Geoffrey had in mind-outré enough, yet sufficiently well known and trusted by the townsfolk of Cambridge to provide a bridge between it and them. If she would agree…

“Weren’t I a foreigner?” he said. “You took me on.”

Gyltha smiled, and for a moment the surprising charm reminded Prior Geoffrey of their years in the priest’s little house next to Saint Mary’s church.

He pressed home his advantage. “Be good for young Ulf.”

“That’s doing well enough at school.”

“When that do bother to come.” Young Ulf’s acceptance at the priory school had been less to do with his cleverness, which was considerable if idiosyncratic, than to Prior Geoffrey’s unconfirmed suspicion that the boy, being Gyltha’s grandson, was also his own. “Sore need of a bit of gentrifying, though, girl.”

Gyltha leaned forward and put a scarred finger on the prior’s writing desk. “What they doing here, bor? You going to tell me?”

“Took ill, didn’t I? Saved my old life, she did.”

“Her? I heard it was the blackie.”

“Her. And not witchery, neither. Proper doctor she is, only best nobody don’t know it.”

There was no point in concealing it from Gyltha, who, if she took on the Salernitans, would find out. In any case, this woman was as close as the seaweeded oysters that she made him a present of every year, of which a fine selection was at this moment in the priory’s ice-house.

“I don’t be sure who sent they three,” he went on, “but they do mean to find out who’s killing the children.”

“Harold.” Gyltha’s face showed no emotion, but her voice was soft; she did business with Harold’s father.

“Harold.”

She nodded. “Weren’t Jews, then?”

“No.”

“Didn’t reckon it was.”

From across the cloisters connecting the prior’s house with the church came the bell calling the brotherhood to vespers.

Gyltha sighed. “Skivvies as promised, and I only do the bloody cooking.”

“Benigne. Deo gratias.” The prior got up and accompanied Gyltha to the door. “Old Tubs still breeding they smelly dogs?”

“Smellier than ever.”

“Bring un with you. Attach it to her, like. If her’s asking questions, it’ll maybe cause trouble. Her needs keeping an eye on. Oh, and they don’t none of ’em eat pork. Or shellfish.” He slapped Gyltha’s rump to send her on her way, folded his arms beneath his apron, and went on his own toward the chapel for vespers.

ADELIA SAT ON A BENCH in the priory’s paradise breathing in the scent of rosemary from the low hedging that bordered the flower bed at her feet and listened to the psalms of vespers filter out of cloister through the evening air across the walled vegetable garden and thence to the paradise with its darkening trees. She tried to empty her mind and let the masculine voices pour salve on the hurt caused by masculine abomination. “Let my prayer be counted as incense before you,” they chanted, “and the lifting of my hands as an evening sacrifice.”

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