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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There would be supper at the priory guesthouse, where Prior Geoffrey had lodged her and Simon and Mansur for the night, but it would entail sitting round the table with other travelers, and she was not fit for petty conversation. The straps of her goatskin bag were buckled tight so that, for this little space, the information the dead children had given her was trapped within it, chalk words on a slate. Undo the straps, as she would tomorrow, and their voices would burst out, beseeching, filling her ears. But tonight even they must be muted; she could bear nothing but the stillness of the evening.

Not until it was almost too dark to see did she stand, pick up her bag, and walk along the path leading to the long shafts of candlelight that indicated the windows of the guesthouse.

It was a mistake to go to bed without food; she lay in a narrow cot in a narrow cell off the corridor devoted to women guests, resenting the fact that she was there at all, resenting the King of Sicily, this country, almost the dead children themselves for imposing the burden of their agony on her.

“I cannot possibly go,” she’d told Gordinus when he’d first broached the subject. “I have my students, my work.”

It was not a matter of choice, however. The command for an expert in death had come down from a king against whom, since he also ruled southern Italy, there was no appeal.

“Why do you choose me?”

“You meet the king’s specifications,” Gordinus had said. “I know of no one else who does. Master Simon will be fortunate to have you.”

Simon had considered himself not so much fortunate as burdened; she’d seen that at once. Despite her credentials, the presence of a woman doctor, an attendant Arab, and a female companion-Margaret, blessed Margaret, had been alive then-had piled a Pelion of complication on the Ossa of an already difficult assignment.

But one of Adelia’s skills, honed to perfection in the rough-and-tumble of the schools, was to make her femininity near invisible, to demand no concession, to blend in almost unnoticed among the largely male fraternity. Only when her professionalism had been called into question did her fellow students find that there was a very visible Adelia with a rough edge to her tongue-in listening to them, she had learned how to swear-and an even rougher edge to her temper.

There had been no need to display either to Simon; he had been courteous and, as the journey went on, relieved. He found her modest-a description, Adelia had long decided, that was applied to women who gave men no trouble. Apparently, Simon’s wife was the acme of Jewish modesty, and he judged all other women by her. Mansur, Adelia’s other accessory, proved to be his invaluable self and, until reaching the coast of France, where Margaret had died, they had traveled in sweet accord.

By now, it took the regularity of her periods for her to remember that she was not a neutered being. On reaching England, the trio’s transfer to a cart and adoption of their roles as a traveling medicine troop had caused none of them little more than discomfort and amusement.

There remained the mystery of why the King of Sicily should involve Simon of Naples, one of his most capable investigators, let alone herself, in a predicament that the Jews of a wet, cold little island on the edge of the world had gotten themselves into. Simon had not known, nor had she. Their instructions were to see the Jews’ name washed of the taint of murder, an aim to be accomplished only by discovering the identity of the true killer.

What she had known was that she would not like England -and she didn’t. In Salerno, she was a respected member of a highly regarded medical school where nobody, except newcomers, expressed surprise on meeting a female practitioner. Here, they’d duck her in a pond. The bodies she’d just examined had darkened Cambridge for her; she’d seen the results of murder before but rarely any so terrible as these. Somewhere in this county a butcher of children walked and breathed.

Identifying him would be made harder by her unofficial position and the pretense that she wasn’t doing it at all. In Salerno she worked, however unacknowledged, with the authorities; here she had only the prior on her side, and even he dare not declare the fact.

Still resentful, she went to sleep and dreamed dark dreams.

SHE SLEPT LATE, a concession not usually granted to other guests. “Prior said as you could forgo matins, you being so tired,” Brother Swithin, the chubby little guest-master told her, “but I was to see you ate hearty when you woke.”

She breakfasted in the kitchen on ham, a rare luxury for one who traveled with a Jew and a Moslem, cheese from the priory’s sheep, bread fresh from the priory’s bakery, new-churned butter and preserve of Brother Swithin’s own pickling, a slice of eel pie, and milk warm from the cow.

“You was thrawn, maid,” Brother Swithin said, ladling her more milk from the churn. “Better now?”

She smiled at him through a white mustache. “Much.” She had been thrawn, whatever that was, but vigor had returned, resentment and self-pity gone. What did it matter that she must work in a foreign land? Children were universal; they inhabited a state superseding nationality with a right to protection by an eternal law. The savagery inflicted on Mary, Harold, and Ulric offended no less because they were not Salerno-born. They were everybody’s children; they were hers.

Adelia felt a determination such as she had never known. The world had to be made cleaner by the removal of the killer. “Whoso shall offend one of these little ones, it were better for him that a millstone were hanged about his neck…”

Now, round the neck of this offender, though he was as yet in ignorance of it, had been hung Adelia, Medica Trotula of Salerno, doctor to the dead, who would strive with all her knowledge and skill to bring him down.

She returned to her cell to transcribe her observations from slate to paper so that, on her return to Salerno, she might deliver a record of her findings-though what the King of Sicily wanted with it, she did not know.

It was terrible work, and slow; more than once she had to throw down her quill in order to cover her ears. The walls of the cell echoed with the children’s screams. Be quiet, oh, be quiet, so that I may track him down. But they had not wanted to die and could not be hushed.

Simon and Mansur had already departed to take up residence in accommodation the prior had found for them in the town so that the mission might have privacy. It was gone noon before Adelia set off after them.

Believing it to be her business to investigate the murderer’s territory and see something of the town, she was surprised, but not displeased, to find that Brother Swithin, busy with a new influx of travelers, was prepared to let her go without an escort and that in Cambridge’s teeming streets, women of all castes bustled about their business unaccompanied and with faces unveiled.

This was a different world. Only the students from the School of Pythagoras, red-capped and noisy, were familiar to her; students were the same the world over.

In Salerno, thoroughfares were shadowed by upper walkways and overhangs built to keep out a barbarous sun. This town opened itself wide like a flat flower to catch what light the English sky gave it.

True, there were sinister side alleys with tweedy, reed-thatched houses crammed together like fungi, but Adelia kept to main roads, asking her way without fear for her reputation or purse as she would not have done at home.

Here it was water, not sun, that the town bowed to; it coursed in runnels down both sides of a street so that every dwelling, every shop, had a footbridge to it. Cisterns, troughs, ponds confused the sight into seeing double; a roadside pig was exactly reflected by the puddle it stood in. Swans apparently floated on themselves. Ducks on a pond swam over the arched, chevroned doorway of the church looming above it. Errant streams contained images of roofs and windows, and willow fronds appeared to grow upward from the rivulets that mirrored them.

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