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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At last, a flap of the hand sent the other women scattering; fugitive as she was, orphaned as she was, Dina still held rank among her sex as daughter of the man who had been the richest Jew in Cambridgeshire. And she was bored; having been cooped up with them for a year, she would have heard everything her companions had to say-and heard it several times.

“Yes?” The girl lifted her veil. She was sixteen, perhaps, no more, and lovely, but her face was setting into bitterness. When she heard what Adelia wanted, she turned it away. “I will not talk about it.”

“The real murderer must be caught.”

“They are all murderers.” She cocked her head to one side in the attitude of listening, raising a finger so that Adelia should listen with her.

Faintly, from beyond the curtain wall, came shouts indicating that Roger of Acton was responding to the arrival of the bishop at the castle gates. “Kill the Jews” was distinguishable among the gabble.

Dina said, “Do you know what they did to my father? What they did to my mother?” The young face crumpled, becoming even younger. “I miss my mother. I miss her.”

Adelia knelt beside her, taking the girl’s hand and putting it to her cheek. “She would want you to be brave.”

“I can’t be.” Dina put back her head and let the tears gush.

Adelia glanced to where the other women were teetering anxiously and shook her head to stop them coming forward. “Yes, you can,” she said. She laid Dina’s hand and her own on the swell of the girl’s stomach. “Your mother would want you to be brave for her grandchild.”

But Dina’s grief, having burst out, was mixed with terror. “They’ll kill the baby, too.” She opened her eyes wide. “Can’t you hear them? They’re going to break in. They’re going to break in .”

How hideous it was for them. Adelia had imagined the isolation, even the boredom, but not the day-to-day waiting, like an animal with its leg in a trap, for the wolves to come. There was no forgetting that there was a pack outside; Roger of Acton’s howl was there to remind them.

She made ineffectual pats of comfort. “The king won’t allow them in.” And “Your husband’s here to protect you.”

“Him.” It was said with a contempt that dried tears.

Was it the king so derided? Or the husband? The girl would not have set eyes on the man she’d been told to marry until the day she married him; Adelia had never thought it a good custom. Jewish law did not permit a young woman to be married against her will, but too often that meant only that she could not be forced to wed a man she hated. Adelia herself had escaped marriage through the liberality of a foster father who had complied with her wish to remain celibate. “There are good wives aplenty, thank God,” he’d said, “but few good doctors. And a good woman doctor is above rubies.”

In Dina’s case, a fearful wedding day and the incarceration that followed it had not augured well for marital bliss.

“Listen to me,” Adelia said briskly. “If your baby is not to spend the rest of its life in this castle, if a killer is not to stay free and murder other children, tell me what I want to know.” Out of desperation, she added, “Forgive me but, by extension, he also killed your parents.”

Wet-lashed, beautiful eyes studied her as if she were an innocent. “But that was why they did it. Don’t you know that?”

“Know what?”

“Why they killed the boy. We know that. They killed him only so that we should be blamed. Why else would they put his corpse in our grounds?”

“No,” Adelia said. “No.”

“Of course they did.” Dina’s mouth was ugly with a sneer. “It was planned. Then they set the mob on, kill the Jews, kill Chaim the usurer. That’s what they shouted, and that’s what they did.”

“Kill the Jews.” The echo came parrotlike from the gate.

“Other children have died since,” Adelia said. She was taken aback by a new thought.

“Them too. They were killed so that the mob will have an excuse when they come to hang the rest of us.” Dina was inexorable. Then she wasn’t. “Did you know my mother stepped in front of me? Did you know that? So they tore her apart and not me?”

Suddenly, she covered her face and rocked back and forth as her husband had done minutes before, only Dina was praying for her dead: “Oseh sholom bimromov, hu ya’aseh sholom olaynu, v’al kol yisroel. Omein.”

“Omein.” He who makes peace in his high holy places, may he bring peace upon us and upon all Israel. If you are there, God, Adelia prayed, let it be thus.

Of course these people would see their plight as deliberately engineered, a plot by goyim to murder children if, in so doing, they could murder Jews. Dina did not ask why; history was her answer.

Gently, firmly, Adelia pulled Dina’s hands down so that she could look into the girl’s face. “Listen to me, mistress. One man killed those children, one. I have seen their bodies, and he is inflicting injuries on them so terrible that I will not tell you what they are. He is doing it because he has lusts we do not recognize, because he is not human as we understand it. Now Simon of Naples has come to England to free the Jews of this guilt, but I do not ask you to help him because you are a Jew. I ask you because it is against all the law of God and men that children should suffer as those children suffered.”

The castle’s noise was climbing up its daylong crescendo, diminishing Roger of Acton’s ravings to a bird’s chirrup.

A bull waiting to be baited was adding its bellow to the rasp of a grindstone where squires were sharpening their master’s blades. Soldiers were drilling. Children, newly let out to play in the sheriff’s garden, laughed and shouted.

Away in the tiltyard, a tax collector who had decided to shed some of his weight had joined the knights practicing with wooden swords.

“What do you want to know?” Dina asked.

Adelia patted her cheek. “You are worthy of your brave mother.” She took in her breath. “Dina, you saw that body on the lawn before the lights were put out, before it was covered by the tablecloth, before it was taken away. What condition was it in?”

“The poor child.” This time Dina wept not for herself, nor for her baby, nor for her mother. “The poor little boy. Somebody had cut off his eyelids.”

Eight

Ihad to make sure,” Adelia said. “The boy could have died at the hands of someone other than our killer, or even accidentally-the injuries might have been sustained after death.”

“They do that,” Simon said. “When they’re accidentally dead, they leap up on the nearest Jewish lawn.”

“It was necessary to make sure he died as the others did. It had to be proved.” Adelia was as tired as Simon, though she didn’t regard the Jews’ treatment of the body on their lawn with the disgust that he did; she was sorry for them. “We can now be certain the Jews didn’t kill him.”

“And who will believe it?” Simon was determinedly depressed.

They were at supper. The last of the sun coming almost directly through the ridiculous windows was warming the room and touching Simon’s pewter flagon with gold. To save the wine, he’d reverted to English beer. Mansur was drinking the barley water that Gyltha made for him.

It was Mansur who asked now, “Why does the dog cut off their eyelids?”

“I don’t know.” Adelia didn’t want to consider the reason.

“Would you know what I think?” Simon said.

She would not. In Salerno, she was presented with bodies, some of which had died in suspicious circumstances; she examined them; she gave her results to her foster father, who, in turn, told the authorities; the bodies were taken away. Sometimes, always later, she learned what happened to the perpetrator-if he or she had been found. This was the first time she had been involved in physically hunting down a killer, and she was not enjoying it.

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