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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Adelia had spent too much of her girlhood in study to join the festivity of other young women; later, she had been too busy. Nor, since she was not to marry, had her foster parents encouraged her in the higher social graces. She had subsequently been ill-equipped to attend the masques and revelry in the palaces of Salerno and, when forced to do so, had passed most of the time behind a pillar, both resentful and embarrassed.

This invitation, therefore, sounded an old alarm. Her immediate instinct was to find an excuse to refuse. “I must consult Master Simon.”

But Simon was at the castle, closeted with the Jews in an effort to discover whose indebtedness might have spurred Chaim’s death.

“He’ll say as you all got to go,” Gyltha told her.

He probably would; with almost everyone they suspected gathered under one roof, tongues loosened by drink, it would be an opportunity to find out who knew what about whom.

“Nevertheless, send Ulf to the castle to ask him.”

Truth to tell, now that she thought about it, Adelia was not unwilling to go. Death had overlain her days in Cambridge with the murdered children, also with some of her patients; the little one with the cough had given way to pneumonia, the ague had died, so had the kidney stone, so had a new mother brought in too late. Adelia’s successes-the amputation, the fever, the hernia-were discounted in the sum of what she regarded as her failures.

It would be nice, for once, to forgather with the living healthy at play. As usual, she could hide in the background; she would not be noticed. After all, she thought, a feast in Cambridge could not compete with the sophistication of its Salerno equivalent in the palaces of kings and popes. She need not be daunted by what, inevitably, would be a bucolic affair.

And she wanted that bath. Had she known that such a thing were possible, she would have demanded one before now; she’d assumed that preparing baths was one of the many things Gyltha didn’t hold with.

She had no choice, anyway; Gyltha and the two Matildas were determined. Time was short; an entertainment that could last six or seven hours began at noon.

She was stripped and plunged into the lessiveuse. Washing lye was poured in after her, along with a handful of precious cloves. She was scrubbed with a bathbrick until nearly raw and held under while her hair was attacked with more lye and a brush before being rinsed with lavender water.

Hauled out, she was wrapped in a blanket and her head inserted into the bread oven.

Her hair was a disappointment, more had been expected of its emergence from the cap or coif she always wore; she habitually sheared it off at shoulder length.

“Color’s all right,” Gyltha said grudgingly.

“But that’s too short,” Matilda B. objected. “Us’ll have to put that in net pockets.”

“Net costs.”

“I don’t know that I’m going yet,” Adelia shouted from the oven.

“You bloody are.”

Oh, well. Still on her knees at the oven, she directed her tiring women to her purse. Money was plentiful; Simon had been provided with a letter of credit on Luccan merchant bankers with agents in England and had drawn on it for them both.

She added, “And if you’re for the market, it’s time you three had new kirtles. Buy an ell of best camlet for yourselves.” Their goodwill made her ashamed that they should be shabby while she was resplendent.

“Linen’ll do,” Gyltha said shortly, pleased.

Adelia was pulled out, put into her shift and underdress, and set on a stool to have her hair brushed until it gleamed like white gold. Silver net had been purchased and stitched into little pockets that were now being pinned over the plaits round her ears. The women were still working on it when Simon arrived with Ulf.

At the sight of her, he blinked. “ Well. Well, well, well…”

Ulf’s mouth had fallen open.

Embarrassed, Adelia said crossly, “All this fuss, and I don’t know if we should go at all.”

“Not go? Dear Doctor, if Cambridge were denied the sight of you now, the very skies would weep. I know of only one woman as beautiful, and she is in Naples.”

Adelia smiled at him. Subtle little man that he was, he knew she would be comfortable with a compliment only if it was without coquetry. He was always careful to mention his wife, whom he adored, not just to point out that he was out-of-bounds but to reassure her that she, Adelia, was out-of-bounds to him. Anything else would have jeopardized a relationship that was close of necessity. As it was, it had allowed them to be comrades, he respecting her professionalism, she respecting his.

And it was nice of him, she thought, to put her on a par with the wife whom he still saw in his mind’s eye as the slim, ivory-skinned maiden he had married in Naples twenty years before-though, probably, having since borne him nine children, the lady was not as slim as she had been.

He was triumphant this morning.

“We shall soon be home,” he told her. “I shall not say too much until I have uncovered the requisite documents, but there are copies of the burned tallies. I was sure there must be. Chaim had lodged them with his bankers and, since they are extensive-the man seems to have lent money to all East Anglia -I have taken them to the castle in order that Sir Rowley may assist me in perusing them.”

“Is that wise?” Adelia asked.

“I think it is, I think it is. The man is versed in accounting and as eager as we are to discover who owed what to Chaim and who regretted it so mightily as to want him dead.”

“Hmm.”

He would not listen to Adelia’s doubts; Simon thought he knew the sort of man Sir Rowley was, crusader or not. A hasty change into his best clothes so as to be ready for Grantchester and he was out of the door, heading back to the castle.

Left to herself, Adelia would have put on her gray overdress in order to tone down the brightness of the saffron that would therefore only show at bosom and sleeves. “I don’t want to attract attention.”

The Matildas, however, plumped for the only other item of note in her wardrobe, a brocade with the colors of an autumn tapestry, and Gyltha, after a short waver, agreed with them. It was slid carefully over Adelia’s coiffure. The pointed slippers Margaret had embroidered with silver thread went on with new white stockings.

The three arbiters stood back to consider the result.

The Matildas nodded and clasped their hands. Gyltha said, “Reckon as she’ll do,” which was as near as she approached to hyperbole.

Adelia’s brief glimpse of her reflection in the polished but uneven bottom of a fish kettle showed something like a distorted apple tree, but obviously she passed muster with the others.

“Ought to be a page as’ll stand behind Doctor’s at the feast,” Matilda B. said. “Sheriff and them allus takes a page to stand behind their chairs. Fart-catchers, Ma calls them.”

“Page, eh?”

Ulf, who had been staring at Adelia without closing his mouth, became aware that four pairs of eyes rested on him. He began running.

The ensuing chase and battle were terrible. Ulf’s screams brought neighbors round to see if another child was in danger of its life. Adelia, standing well back in case she be splashed by the lessiveuse’s turmoil, was in pain from laughing.

More cash was expended, this time at the business premises of Ma Mill, whose ragbags contained an old but serviceable tabard of almost the right size that responded nicely to a rub with vinegar. Dressed in it and with his flaxen hair bobbed around a face like a gleaming, discontented pickled onion, Ulf too passed muster.

Mansur eclipsed them both. A gilded agal held the veil of his kaffiyeh in place; silk flowed long and light around a fresh white woollen robe. A jeweled dagger flashed on his belt.

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