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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Prior Geoffrey must say grace. Wine cups must be filled for the dedicatory toast to Thomas of Canterbury and his new recruit to martyred glory, Little Peter of Trumpington, the raisons d’être of the feast. A curious custom, Adelia thought, as she stood to drink to the health of the dead.

A discordant shriek cut across the respectful murmurs. “The infidel insults our holy saints.” Roger of Acton was pointing in triumphant outrage at Mansur. “He drinks to them in water.”

Adelia closed her eyes. God, don’t let him stab the swine.

But Mansur stayed calm, sipping his water. It was Sir Joscelin who administered a rebuke clear to the entire hall: “By his faith, this gentleman forswears liquor, Master Roger. If you cannot hold yours, may I suggest you follow his example.”

Nicely done. Acton collapsed onto his bench. Adelia’s opinion of her host rose.

Do not be charmed, though, she told herself. Memento mori. Literally, remember death. He may be the killer; he is a crusader. So is the tax collector.

And so was another man on the top table; Sir Gervase had watched every step of her progress into the hall.

Is it you ?

Adelia was assured now that the man who had murdered the children had been on crusade. It was not merely identification of the sweetmeat as an Arab jujube, but that the hiatus between the attack on the sheep and the one on the children coincided exactly with a period when Cambridge had responded to the call of Outremer and sent some of its men to answer it.

The trouble was that there had been the absence of so many…

“Who left town in the Great Storm year?” Gyltha had said when applied to. “Well, there was Ma Mill’s daughter as got herself in the family way by the peddler…”

“Men, Gyltha, men.”

“Oh, there was a mort of young men went. See, the Abbot of Ely called for the country to take the Cross.” By “country” Gyltha meant “county.” “Must of been hundreds went off with Lord Fitzgilbert to the Holy Places.”

It had been a bad year, Gyltha said. The Great Storm had flattened crops, flood swept away people and buildings, the fens were inundated, even the gentle Cam rose in fury. God had shown His anger at Cambridgeshire’s sins. Only a crusade against His enemies could placate Him.

Lord Fitzgilbert, looking for lands in Syria to replace his drowned estates, had planted Christ’s banner in Cambridge ’s marketplace. Young men with livelihoods destroyed by the storm came to it, and so did the ambitious, the adventurous, rejected suitors, and husbands with nagging wives. Courts gave criminals the option of going to prison or taking the Cross. Sins whispered to priests in confession were absolved-as long as the perpetrator joined the crusade.

A small army marched away.

Lord Fitzgilbert had returned pickled in a coffin and now lay in his own chapel under a marble effigy of himself, its mailed legs crossed in the sign of a crusader. Some arrived home and died of the diseases they carried with them, to lie in less exalted graves with a plain sword carved into the stone above. Some were merely a name on a mortuary list carried by survivors. Some had found a richer, drier life in Syria and opted to stay there.

Others came back to take up their former occupation so that, according to Gyltha, Adelia and Simon must now take a keen look at two shopkeepers, several villeins, a blacksmith, and the very apothecary who supplied Dr. Mansur’s medicines, not to mention Brother Gilbert and the silent canon who had accompanied Prior Geoffrey on the road.

“Brother Gilbert went on crusade?”

“That he did. Nor it ain’t no good suspecting only them as came back rich like sirs Joscelin and Gervase,” Gyltha had said relentlessly. “There’s lots borrow from Jews, small amounts maybe but big enough to them as can’t pay the interest. Nor it ain’t certain a fellow yelling for the Jew to swing was the same devil killed the little uns. There’s plenty like to see a Jew’s neck stretch and they call theyselves Christians.”

Daunted by the size of the problem, Adelia had grimaced at the housekeeper for her logic even as she’d acknowledged it as inescapable.

So now, looking around, she must attach no sinister significance to Sir Joscelin’s obvious wealth. It could have been gained in Syria, rather than from Chaim the Jew. It had certainly transformed a Saxon holding into a flint-built manor of considerable beauty. The enormous hall in which they ate possessed a newly carved roof as fine as any she’d seen in England. From the gallery above the dais issued music played with professional skill on recorder, vielle, and flute. The personal eating irons that a guest usually took to a meal had been made redundant by a knife and spoon laid at each place. Saucers, finger bowls waiting on the table were of exquisite silverwork, the napkins of damask.

She expressed her admiration to her companions. Hugh the huntsman merely nodded. The little man on her left said, “But you ought to’ve seen that in old days, wonderful wormy barn of a place near to falling down that was when Sir Tibault had un, him as was Joscelin’s father. Nasty old brute he was, God rest him, as drank hisself to death in the end. Ain’t I right, Hugh?”

Hugh grunted. “Son’s different.”

“That he is. Different as chalk and cheese. Brought the place back to life, Joscelin has. Used un’s gold well.”

“Gold?” Adelia asked.

The little man warmed to her interest. “So he told me. ‘There’s gold in Outremer, Master Herbert,’ he said to me. ‘Hatfuls of it, Master Herbert.’ See, I’m by way of being his bootmaker; a man don’t fib to his bootmaker.”

“Did Sir Gervase come back with gold as well?”

“A ton or more, so they say, only he ain’t so free with his money.”

“Did they acquire this gold together?”

“Can’t answer for that. Probable they did. They ain’t hardly apart. David and Jonathan, them.”

Adelia glanced toward the high table at David and Jonathan, good-looking, confident, so easy together, talking over the prioress’s head.

If there were two killers, both in accord…It hadn’t crossed her mind, but it should have. “Do they have wives?”

“Gervase do, a poor, dribblin’ little piece as stays home.” The bootmaker was happy to display his knowledge of great men. “Sir Joscelin now, he’s atrading for the Baron of Peterborough’s daughter. Good match that’d be.”

A shrill horn blasted away all talk. The guests sat up. Food was coming.

AT THE HIGH TABLE, Rowley Picot allowed his knee to rub against that of the sheriff’s wife, keeping her happy. He also winked at the young nun seated at the trestle below to make her blush, but found that his eyes were more often directed toward little Madam Doctor down among the toilers and hewers. Washed up nicely, he’d give her that. Creamy, velvety skin disappeared into that saffron bodice, inviting touch. Made his fingertips twitch. Not the only thing to twitch, either; that gleaming hair suggested she was blonde all over…

Damn the trollop-Sir Rowley shook off a lubricious reverie-she was finding out too much, and Master Simon with her, relying on their bloody great Arab for protection, a eunuch, for God’s sake.

T O HELL , thought Adelia, there’s more.

For the second time, a blast on the horn had announced another course from the kitchen, led by the marshal. More and even larger platters, piled like petty mountains, each needing two men to carry them, were greeted with cheers from the merry diners, who were getting merrier.

The wreckage from the first course was removed. Gravy-stained trenchers were put into a wheelbarrow and taken outside to where ragged men, women, and children waited to fall on them. Fresh ones took their place.

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