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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She’d worked that out for herself. It had been fenced off. A stall stood just outside the palings with a pile of branches on it. Two nuns were breaking off twigs, attaching a ribbon to each, and selling them to relic-seekers.

This, then, was where Little Saint Peter had taken his Easter branches and where, subsequently, Chaim the Jew had been hanged.

The tree stood outside the convent grounds, which were marked here by a wall that, on the river side, led down to gates next to a boathouse and a small quay but which, heading west, ran so far back into the forested countryside that Adelia could see no end to it.

Inside the open gates, other nuns busied themselves among a mass of pilgrims like black-and-white bees directing honey-gatherers into their hive. As Adelia went under the entrance arch, a nun sitting at a table in the sunny courtyard was telling a man and wife ahead of her, “Penny to visit Little Saint Peter’s tomb,” adding, “Or a dozen eggs, we’re low on eggs, hens ain’t laying.”

“Pot of honey?” the wife suggested.

The nun tutted, but they were allowed to pass in. Adelia contributed two pennies since the nun was prepared to exclude Safeguard if she did not and Ulf was reluctant to enter without the dog. Her coins clinked into a bowl already nearly full. The argument had held up the line of people that formed behind her, and one of the nuns marshaling it became angry at the delay and almost pushed her through the gates.

Inevitably, Adelia compared this, the first English nunnery she had visited, with Saint Giorgio’s, largest of the three female convents in Salerno and the one with which she was most familiar. The comparison was unfair, she knew; Saint Giorgio’s was a rich foundation, a place of marble and mosaic, bronze doors opening into courtyards where fountains cooled the air, a place, Mother Ambrose always said, “to feed with beauty the hungry souls who come to us.”

If the souls of Cambridge looked for such sustenance from Saint Radegund’s, they went empty away. Few had endowed this female house, suggesting that the rich of England did not esteem women’s worship. True, there was a pleasing simplicity of line in the convent’s collection of plain stone oblong outbuildings, though none of them any bigger nor more ornate than the barn in which Saint Giorgio’s kept its grain, but beauty was lacking. So was charity. Here, the nuns were employed in selling rather than giving.

Stalls set up along the path to the church displayed Little Saint Peter talismans, badges, banners, figurines, plaques, weavings from Little Saint Peter’s willow, ampullae containing Little Saint Peter’s blood, which, if it were human blood, had been so watered as to show only the lightest taint of pink.

There was a press to buy. “What one’s good for gout?…For the flux?…For fertility?…Can this cure staggers in a cow?”

Saint Radegund’s was not waiting on the years it would take for its martyred son to be confirmed in sainthood by the Vatican. But then, neither had Canterbury, where the industry based on the martyrdom of Saint Thomas à Becket was immensely bigger and better organized.

Chastened by Gyltha’s strictures on want, Adelia could not blame so poor a convent for exploitation, but she could despise the vulgarity with which it was being done. Roger of Acton was here, striding up and down the line of pilgrims, brandishing an ampulla, urging the crowd to buy: “Whoso shall be washed in the blood of this little one need never wash again.” The sour whiff as he passed suggested he took his own advice.

The man had capered the journey from Canterbury, a demented monkey, always shouting. His earflapped cap was still too large for him, his green-black robe daubed with the same mud and food splashes.

On a pilgrimage that had consisted mainly of educated people, the man had appeared an idiot. Yet here, among the desperate, his cracked voice carried compulsion. Roger of Acton said “Buy,” and his hearers bought.

It was expected that God’s finger infected those it touched with holy madness; Acton was commanding the respect accorded to skeletal men gibbering in the caves of the East, or to a stylite balancing on his pillar. Did not saints embrace discomfort? Had not the corpse of Saint Thomas à Becket been wearing a hair shirt swarming with lice? Dirt, exaltation, and an ability to quote the Bible were signs of sanctity.

He was of a type Adelia had always found to be dangerous; it denounced eccentric old women as witches and hauled adulterers before the courts, its voice inciting violence against other races, other beliefs.

The question was how dangerous.

Was it you? Adelia wondered, watching him. Do you prowl Wandlebury Ring? Do you truly wash in the blood of children?

Well, she wasn’t going to ask him yet, not until she had reason, but in the meantime, he remained a fitting candidate.

He didn’t recognize her. Neither did Prioress Joan, who passed them on her way to the gates. She was dressed for riding and had a gyrfalcon on her wrist, encouraging the customers as she went with a “Tallyho.”

The woman’s confident, bullying manner had led Adelia to expect that the house of which she was the head would prove to be the acme of organization. Instead, slackness was apparent: weeds grew around the church; there were missing tiles on its roof. The nuns’ habits were patched, the white linen beneath the black wimples showed mostly dirty; their manners were coarse.

Shuffling behind the line entering the church, she wondered where the money gained from Little Saint Peter was going. Not, so far, to the greater glory of God. Nor on comfort for the pilgrims: no one assisted the sick; there were no benches for the lame while they waited; no refreshment. The only suggestion for overnight accommodation was a curling list of the town’s inns pinned to the church gate.

Not that the supplicants shuffling with her seemed to care. A woman on crutches boasted of visits to the glories of Canterbury, Winchester, Walsingham, Bury Saint Edmunds, and Saint Albans as she displayed her badges to those around her, but she was tolerant of the shabbiness here: “I got hopes of this un,” she said. “He’m a young saint yet, but he was crucified by Jews; Jesus’ll listen to him, I’ll be bound.”

An English saint, one who’d shared the same fate, and at the same hands, as the Son of God. Who had breathed the air they breathed now. Despite herself, Adelia found herself praying that he would.

She was inside the church now. A clerk sat at a table by the doors, taking down the deposition of a pale-faced woman who was telling him she felt better for having touched the reliquary.

This was too tame for Roger of Acton, who came bounding up. “You were strengthened? You felt the Holy Spirit? Your sins washed away? Your infirmity gone?”

“Yes,” the woman said, and then more excitedly: “Yes.”

“Another miracle!” She was dragged outside to be displayed to the waiting line. “A cure, my people! Let us praise God and his little saint.”

The church smelled of wood and straw. The chalk outline of a maze on the nave suggested that someone had attempted to draw the labyrinth of Jerusalem on the stones, but only a few of the pilgrims were obeying the nun trying to make them walk it. The rest were pushing toward a side chapel where the reliquary lay hidden from Adelia’s view by those in front of her.

While she waited she looked around. A fine stone plaque on one wall declaring that “in the Year of Our Lord 1138, King Stephen confirmed the gift which William le Moyne, goldsmith, made to the nuns of the cell newly founded in the town of Cambridge for the soul of the late King Henry.”

It probably explained the poverty, Adelia thought. Stephen’s war with his cousin Matilda had ended in triumph for Matilda, or, rather, Henry II, her son. The present king would not be happy to endow a house confirmed by the man his mother had fought for thirteen years.

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