Ariana Franklin - Mistress of the Art of Death

Здесь есть возможность читать онлайн «Ariana Franklin - Mistress of the Art of Death» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Жанр: Триллер, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

Mistress of the Art of Death: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «Mistress of the Art of Death»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

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."

Mistress of the Art of Death — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «Mistress of the Art of Death», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Much of his sympathy was for her. “Can you bear it, Doctor?”

“It’s what I am trained for,” she told him.

He shook his head. “Nobody is trained for what you have seen today.” He took in a deep breath and said in his labored English, “This is Gyltha. Prior Geoffrey send her to keep house kindly. She know what we do here.”

So, it appeared, did someone who’d been lurking in a corner with an animal. “This is Ulf. Grandson of Gyltha, I think. Also this-what is?”

“Safeguard,” Gyltha told him. “And take off thy bloody cap to the lady, Ulf.”

Never had Adelia seen a trio more comprehensively ugly. Woman and boy had coffin-shaped heads, big-boned faces, and large teeth, a combination she was to recognize as a fenland trait. If the child Ulf wasn’t as alarming as his grandmother, it was because he was a child, eight or nine years old, his features still blunted by puppyhood.

The “safeguard” was an overlarge ball of matted wool from which emerged four legs like knitting needles. It appeared ovine but was probably a dog; no sheep smelled as bad.

“Present from Prior,” Gyltha said. “You’re to do the feeding of it.”

Nor was the room they were gathered in any more prepossessing. Cramped and mean, the front door led straight into it, with an equally heavy door opposite giving to the rest of the house. Light from two arrow slits showed bare and broken shelving.

“Where Old Ben did his pawnbroking,” Gyltha said, adding with force, “only some bugger’s stole all the pledge goods.”

Some other bugger, or perhaps the same one, had also used the place as a latrine.

Adelia was clawed by homesickness. Most of all for Margaret, that loving presence. But also, oh, God, for Salerno. For orange trees and sun and shade, for aqueducts, for the sea, for the sunken Roman bath in the house she shared with her foster parents, for mosaic floors, for trained servants, for acceptance of her position as medica, for the facilities of the school, for salads -she hadn’t eaten green stuff since arriving in this godforsaken, meat-stuffing country.

But Gyltha had pushed open the inner door, and they were looking down the length of Old Benjamin’s hall-which was better.

It smelled of water, lye, beeswax. At their entrance, two maids with buckets and mops whisked out of sight through a door at the far end. From a barrel-vaulted roof hung burnished synagogue lamps on chains, lighting fresh green rushes and the soft polish of elm floorboards. A stone pillar supported a winding staircase leading up to an attic floor and down to the undercroft.

It was a long room, made extraordinary by glazed windows that ran higgledy-piggledy along its left length, their different sizes suggesting that Old Benjamin, on a waste-not-want-not principle, had enlarged or reduced the original casements to fit in their place such unreclaimed glass as came into his possession. There was an oriel, two lattices-both open to allow in the scent of the river-one small sheer pane, and a rose of stained glass that could have originated only in a Christian church. The effect was untidy but a change from the usual bare shuttering, and not without charm.

For Mansur and Simon, however, the ne plus ultra was elsewhere-in the kitchen, a separate building beyond the house. They urged Adelia toward it. “Gyltha is a cook,” Simon said as one emerging from the dust of Egypt into Canaan, “our prior…”

“May his shadow never grow less,” Mansur said.

“…our good, good prior has sent us a cook on a par with my own dear Becca.” Rebecca was his wife. “Gyltha superba. Look, Doctor, look what she is preparing.”

In a huge fireplace, things were turning on spits, spattering fat into glowing peat; kettles hung from hooks exuded herby, fishy steam; cream-colored pastry lay ready to be rolled on the great floured table. “Food, Doctor, succulent fish, lampreys- lampreys, praise to the Lord-duck seethed in honey, suckling lamb.”

Adelia had never seen two men so enthused.

The rest of daylight was spent unpacking. There were rooms to spare. Adelia had been allotted the solar, a pleasant room overlooking the river-a luxury after the communal beds of the inns. Its cupboards were bare, having been ransacked by the rioters, leaving her with welcome shelves on which to lay out her herbs and potions.

That evening, Gyltha, calling them to supper, was irritated by the time it took Mansur and Simon to carry out their ritual ablutions, and Adelia, who suspected that dirt was poisonous, to wash her hands before coming to the table. “That’ll get cold,” she snapped at them. “I ain’t cooking for heathens as don’t care if good food goes cold.”

“You are not,” Simon assured her, “Gyltha, you are not.

The dining table was garnished with the riches of a fenland seething with fowl and fish; to Adelia’s homesick eyes it lacked sufficient greenstuff, but it was undoubtedly fine.

Simon said, “Blessed are you, HaShem, our God, King of the Universe, who brings forth bread from the earth,” and tore a piece from the white loaf on the table to eat it.

Mansur invoked the blessing of Salman the Persian, who had given Mohammed food.

Adelia said, “May good health attend us,” and they sat down to dine together.

On the boat from Salerno, Mansur had eaten with the crew, but the last leg of the journey through English inns and around campfires had imposed a democracy that none of them was willing to abandon. In any case, since Mansur now posed as head of the household, it was incongruous to send him to eat with the maids in the kitchen.

Adelia would have reported her findings over dinner, but the men, knowing what they were likely to be, refused to disturb their stomachs with anything except Gyltha’s cooking. Or to make any conversation, for that matter. Adelia was amazed by the time and praise two men could lavish on suckling lamb, custards, and cheeses.

For her, food was analogous to the wind-necessary for the propulsion of boats, living beings, and the sails of windmills but otherwise to be unremarked.

Simon drank wine. A barrel from his favorite Tuscan vineyard had traveled with them, English wines reportedly being undrinkable. Mansur and Adelia drank boiled and strained water because they always did.

Simon kept urging Adelia to take some wine and to eat more, despite her protestations that she had breakfasted too well at the priory. He was concerned that her examination of the bodies had sickened her to the point of illness. It was how it would have affected him, but she saw it as a reflection on her professionalism and said sharply, “That was my job. Why else have I come?”

Mansur told him to leave her alone. “Always, the doctor pecks like a sparrow.”

The Arab certainly wasn’t pecking. “You’ll get fat,” Adelia warned him. It was his horror; too many eunuchs ate themselves into obesity.

Mansur sighed. “That woman is a siren of cooking. She calls a man’s soul through his stomach.”

The idea of Gyltha as a siren delighted Adelia. “Shall I tell her so?”

To her surprise, he shrugged and nodded.

“Ooh,” she said. In all the years since he had been appointed by her foster parents to be her bodyguard, she had never known him to pay a compliment to a female. That it should be a woman with the face of a horse and with whom he did not share a common language was unexpected and intriguing.

The two maids who served them, both confusingly called Matilda and differentiated by only the initials of their parish saints, therefore answering to Matilda B. and Matilda W., were as wary of Mansur as of a performing bear that had sat down to dine. They emerged from the open passage that led from the kitchen to a door behind the dais, taking and replacing dish after dish without approaching his end of the table, giggling nervously and leaving the food to be passed down to him.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «Mistress of the Art of Death»

Представляем Вашему вниманию похожие книги на «Mistress of the Art of Death» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Отзывы о книге «Mistress of the Art of Death»

Обсуждение, отзывы о книге «Mistress of the Art of Death» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.

x