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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Well, Adelia thought, they’ll have to get used to him.

At last the table was cleared. Simon metaphorically girded his loins, sighed, and sat back. “And so, Doctor?”

Adelia said, “This is supposition, you understand.” It was her invariable caveat.

She waited for both men to acquiesce, then drew in a deep breath. “I believe the children were taken to chalkland to be killed. This may not apply to Little Saint Peter, who seems to have been a different case, perhaps because he was the first victim and the killer had not yet lapsed into routine. But of the three I examined, there was chalk embedded in the heels of both boys, indicating they were dragged through it, and evidence of it on the remains of all of them. Their hands and feet were bound with torn strips of cloth.”

She looked toward Simon. “Fine, black wool. I have kept samples.”

“I will inquire among the wool merchants.”

“He did not bury one of the bodies but kept that, too, somewhere dry and cool.” She kept her voice steady. “Also, it may be that the female was stabbed repeatedly in the pubic region, as were the boys. The best preserved of the males lacked his genitals, and I would say the others, too, suffered in the same way.”

Simon had covered his face with his hands. Mansur sat very still.

Adelia said, “I believe in each case he cuts off their eyelids, whether before or after death I cannot say.”

Simon said quietly, “Fiends walk among us. What do you do, Lord, to allow the torturers of Gehenna to inhabit human bodies?”

Adelia would have argued that to attribute satanic forces to the murderer was partly to absolve him, making him victim to an outside force. To her, the man was rabid, like a dog. But then, she thought, Perhaps allowing that he is diseased also gives an excuse to what is unpardonable.

“Mary…” She paused. Naming a corpse was a mistake she did not usually make; it did away with objectivity, introduced emotion when it was essential to remain impersonal; she didn’t know why she’d done it.

She began again: “The female had something stuck to her hair. At first I thought it to be semen…” Simon’s hand gripped the table, and she remembered she was not addressing her students. “However, the object has preserved its original oblong shape, probably a sweetmeat.”

Now then.

She said quietly, “We must consider particularly the time and location of the bodies’ discovery. They were found on silt; there was a dusting of it on each, but the shepherd who came across them assured Prior Geoffrey that they were not there the day before. Therefore, they had been taken from where they were kept, in chalk, to the site where the shepherd found them yesterday morning, on silt.”

It seemed a year ago.

Simon’s eyes were on hers, reading them. “We came to Cambridge yesterday morning,” he said. “The night before we were…what was the name of that place?”

“Part of the Gog Magog hills.” Adelia nodded. “On chalk.”

Mansur followed what she was implying. “So in the night the dog moved them. For us?”

She shrugged; she pronounced on only what was provable; others must draw the inference. She waited to see what Simon of Naples would make of it. Journeying together had engendered respect for him; the excitability, near gullibility, he displayed in public was not a deliberate disguise but a reaction to being in public and in no way represented a mind that calculated with brilliance and at speed. She regarded it as a compliment to herself and to Mansur that when they were alone, they were allowed to see his brain at work.

“He did.” Simon’s fists gently drummed the table. “It is too immediate for coincidence. How long have the little souls been missing? A year in one case? But when our cavalcade of pilgrims stops on the road and our cart moves up the hillside…all at once they are found.”

Mansur said, “He sees us.”

“He saw us.”

“And he moves the bodies.”

“He moved the bodies.” Simon splayed his hands. “And why? He was afraid we would find where he kept them on the hill.”

Adelia, playing devil’s advocate, asked, “Why should he be afraid of us discovering them? Other people must have walked those hills these past months and not found them.”

“Maybe not so many. What was the name, the name of the hill we were on?…The prior told me…” He tapped his forehead, then looked up as a maid came in to trim the candlewicks. “Ah. Matilda.”

“Yes, master?”

Simon leaned forward. “Wand-le-bury Ring.”

The girl’s eyes widened; she made the sign of the cross and backed out the way she had come.

Simon looked round. “Wandlebury Ring,” he said. “What did I say? Our prior was right; it is a place of superstition. Nobody goes there; it is left to sheep. But we went there last night. He saw us. Why had we come? He does not know. To spread our tents? To stay? To walk the ground? He cannot be sure what we will do, and he is afraid because that is where the bodies are and we may find them. He moves them.” He leaned back in his chair. “His lair is on Wandlebury Ring.”

He saw us. Adelia was inflicted by an image of batlike wings cringing over a pile of bones, a snout sniffing the air for intruders, a sudden gripe of the talons.

“So he digs the bodies up? He carries them a distance? He leaves them to be found?” Mansur said, his voice higher than ever with incredulity. “Can he be so foolish?”

“He was trying to lead us away, so we would not know the bodies were first laid in chalk,” said Simon. “He didn’t reckon with Dr. Trotula here.”

“Or does he want them to be found?” Adelia suggested. “Is he laughing at us?”

Gyltha came in. “Who’s been scaring my Matildas?” She was aggressive and was holding a pair of candle trimmers in a manner that caused Simon to fold his hands over his lap.

“Wand-le-bury Ring, Gyltha,” Simon said.

“What about it? Don’t you credit that squit they talk about the ring. Wild Hunt? I don’t hold with it.” She took down a lantern and began snipping. “Just a bloody hill, Wandlebury is. I don’t hold with hills.”

“Wild Hunt?” Simon asked. “What is Wild Hunt?”

“Pack of bloody hounds with red eyes led by the Prince of Darkness, and I don’t credit a word of it, them’s ordinary sheep-killers, I reckon, and you come down out of there, Ulf, you liddle grub, afore I set the pack on you.”

There was a gallery at the other end of the hall, its staircase hidden by a door in the wainscoting, out of which now sidled the small, unprepossessing figure of Gyltha’s grandson. He was muttering and glaring at them.

“What does the boy say?”

“Nothing.” She cuffed the child toward the kitchens. “You ask that loafer Wulf about the Wild Hunt; he’s full of squit. Reckons he saw it once, and he’ll sell you the tale for a drink of ale.”

When she’d gone, Simon said, “Wild Hunt, Benandanti, the Chausse Sauvage. Das Woden here. It is a superstition encountered all over Europe and varies very little; always hounds with eyes of fire, always a black and terrible horseman, always death to those seeing them.”

Quiet fell on the room. Adelia was more aware than she had been of the darkness beyond the two open lattice windows, where things rustled in the long grass. From the reeds by the river, the spring call of a bittern had accompanied their meal; now the notes took on the resonance of a drum heralding an approaching funeral.

She rubbed her arms to rid them of gooseflesh. “So we are to assume that the killer lives on the hill?” she asked.

Simon said, “It may be that he does. Maybe not. As I understand it, the children went missing from around the town; it is unlikely that all three would have ventured so far as the hill at different times under their own volition. There are long odds against a creature spending every minute in such surroundings so that he may guard his lair and espy someone approaching it. Either they were lured there, which is also unlikely-it is a distance of some miles-or they were taken. We may assume, therefore, that our man looks for his victims in Cambridge and uses the hill as his killing ground.”

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