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 heard the tax collector’s huff of impatience as he hurried her on. “Our man is a wild dog. Wild dogs leap for the throat when they’re threatened. Simon had become a threat.”

“He weren’t very big, neither,” Gyltha said. “Nice little man, but no more to un than a rabbit.”

No, there wasn’t. But to be murdered. Adelia’s mind fought against it. She and Simon had come to resolve a predicament that the people of a minor town in a foreign country had gotten themselves into, not to enter into the same predicament with them. She had regarded the two of them as excluded from it by some special dispensation given to investigators. And so, she knew, had Simon.

She halted in her tracks. “We’ve been at risk?”

The tax collector stopped with her. “Well, I’m glad you’ve seen it. Did you think you had exemption?”

They were bustling her on again, the two of them talking over her head.

“Did you see him leave, Gyltha?”

“Not to say leave. He looked into the kitchen with compliments to the cook and say good-bye to me.” Gyltha’s voice wavered for a moment. “Always the polite gentleman he was.”

“Was that before the dancing began?”

Gyltha sighed. It had been busy in Sir Joscelin’s kitchen last night.

“Beggared if I can remember. Might’ve been. He said as he must apply himself to study afore he went to bed, that I do recall. The which he was a-leaving early.”

“‘Apply himself to study.’”

“His very words.”

“He was going to look through the tallies.”

As usual, the bridge was crowded; they had trouble walking in line and, with Sir Rowley keeping a firm grip on her, Adelia was bumped into by passersby, most of them clerks, all in a hurry, each with a distinctive chain around his neck, lots of them. Officialdom had come to Cambridge. Vaguely, she wondered why.

Question and answer went on over her head.

“Did he say he was walking home? Or going by boat?”

“With never a blink of light? He’d never walk, surely.” Like most Cambridge people, Gyltha regarded the boat as the only form of transport. “There’d be someone leaving the same time as would’ve offered to drop un off home.”

“I fear that is what somebody did.”

“Oh, dear God, help us all.”

No, no, Adelia thought. Simon was not unwary; he was not a child to be tempted by jujubes. Foolishly, townsman that he was, he had attempted to walk back along the riverbank. He slipped in the dark; it was an accident.

“Who did leave at the same time?” Picot’s voice.

But Gyltha could not tell him. Anyway, they had reached the castle. No Jews in the inner court today; instead, there were more clerks, dozens, like an infestation of beetles.

The tax collector was answering Gyltha: “Royal clerks, here to get all ready for the assize. It takes days to be prepared for the justices in eyre. Come on, this way. They took him to the chapel.”

So they had, but, by the time the three reached it, the chapel was empty except for the castle priest, who was busily swinging a thurible up and down the nave to resanctify it. “Did you know the corpse was that of a Jew, Sir Rowley? Such a thing. We thought him to be Christian, but when we laid it out…” Father Alcuin took the tax collector by the arm and led him away so that the women should not hear. “When we unclothed it, we saw the evidence. It was circumcised.”

“What’s been done with him?”

“It could not stay here, for all heaven. I called for it to be taken away. It cannot be buried here, however the Jews fuss for it. I have sent for the prior, though it is more a matter for the bishop, but Prior Geoffrey knows how to quiet the Israelites.”

Father Alcuin caught sight of Mansur and paled. “Will you bring another paynim into this holy place? Get him out, get him out.”

Sir Rowley saw the despair in Adelia’s face and took the little priest by the front of his robe, raising him several inches off the ground. “Where have they taken the body?”

“I do not know. Let me down, you fiend.” As he regained his feet, he said defiantly, “Nor do I care.” He returned to clanking the thurible, disappearing in a cloud of incense and bad temper.

“They’re not treating him with respect,” Adelia said. “Oh, Picot, see that he has a proper Jewish burial.” Cosmopolitan humanist he might have appeared, but au fond Simon of Naples had been a devout Jew; her own nonobservance had always troubled him. For his body to be merely disposed of, the rites of his religion ignored, was terrible to her.

“That’s not right,” Gyltha agreed. “It’s like the Good Book says, ‘They have taken away my Lord and I know not where they have laid him. ’”

Blasphemy perhaps, but it was said with indignation and sorrow.

“Ladies,” Sir Rowley Picot said, “if I have to go to the Holy Ghost for it, Master Simon will be buried with reverence.” He went off and came back. “The Jews have already taken him, it seems.”

He set off toward the Jews’ tower. As they followed him, Adelia slipped her hand into that of her housekeeper.

Prior Geoffrey was at its door, talking to a man Adelia did not know but whom she recognized at once to be a rabbi. It wasn’t the locks or the untrimmed beard; he was dressed much the same, and as shabbily, as his fellow Jews. It was the eyes; they were scholarly, sterner than Prior Geoffrey’s but with the same breadth of knowledge and a wearier amusement. Men with eyes like those had gently disputed Jewish law with her foster father. A Talmudic scholar, she thought, and was relieved; he would care for Simon’s body as Simon would have wished. But he would not, since it was forbidden, allow the corpse to be subject to an autopsy, despite anything Sir Rowley could do-and that also was a relief to Adelia.

Prior Geoffrey was holding her hands. “My dear girl, such a blow, such a blow for us all. The loss to you must be incalculable. God’s grace and how I liked the man, ours was a brief acquaintance, yet I perceived the sweetness of soul in Master Simon of Naples and I grieve at his passing.”

“Prior, he must be buried according to Jewish law, which means he has to be buried today.” To keep a corpse above ground any longer than twenty-four hours was to humiliate it.

“Ah, as to that…” Prior Geoffrey was uneasy. He turned to the tax collector, as did the rabbi-this was men’s business. “A situation has arisen, Sir Rowley. Indeed, I am surprised it has not come up before, but it appears-happily, of course-that none of Rabbi Gotsce’s people here in the castle have died during their year of incarceration…”

“It must be the cooking.” It was a deep voice, Rabbi Gotsce’s, and, if he’d made a joke, his face showed no sign of it.

“Accordingly,” the prior went on, “and I admit my fault in this, no arrangement has yet been made…”

“There is no burial ground for Jews in the castle,” Rabbi Gotsce said.

Prior Geoffrey nodded. “I fear Father Alcuin is claiming the entire precinct as Christian ground.”

Sir Rowley grimaced. “Perhaps we can smuggle him down to the town tonight.”

“There is no burial ground for Jews in Cambridge,” Rabbi Gotsce said.

They all stared at him, except the prior, who looked ashamed.

“What was done for Chaim and his wife, then?” Rowley asked.

Reluctantly, the prior said, “In unsanctified ground, with the suicides. Anything else would have inflamed another riot.”

The open door of the tower before which they all stood showed a to-do in progress behind it. Women with basins and cloths in their arms were running up and down the circular stair while a group of men stood in the hallway, talking. Adelia saw Yehuda Gabirol in the middle of it, clutching his forehead.

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