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 clutched her own because, on top of everything else, confusing the issue, somebody was in pain. The conversation of prior, rabbi, and tax collector was being interrupted every now and then by a loud and deep sound issuing from one of the tower’s upper windows, something between a groan and the huff of a faulty pair of bellows. The men were ignoring it.

“Who is that?” she asked, but nobody attended to her.

“Where do you usually take your dead, then?” Rowley asked the rabbi.

“To London. The king is good enough to allow us a cemetery near the Jewish quarter in London. It has always been so.”

“It’s the only one?”

“The only one. If we die in York or on the border to Scotland, in Devon or Cornwall, we must take our coffin to London. We have to pay a special toll, of course. And then there’s the hiring of the dogs that bark at us as we pass through the towns.” He smiled without mirth. “It comes expensive.”

“I didn’t know,” Rowley said.

The little rabbi bowed politely. “How should you?”

“We are at an impasse, you see,” Prior Geoffrey said. “The poor body cannot be interred in the castle grounds, yet I doubt we could elude the townspeople long enough, or safely enough, to smuggle it to London.”

London ? Smuggle? Adelia’s distress grew into anger she could hardly contain.

She stepped forward. “Forgive me, but Simon of Naples is not an inconvenience to be disposed of. He was sent to this place by the King of Sicily to root out a killer in your midst, and if this man here is right”-she pointed to the tax collector-“he died for it. In the name of God, the least all of you can do is bury him with respect.”

“She’s right, Prior,” Gyltha said. “Good little man, he was.”

The two women were embarrassing the men. Further embarrassment came from the upper window in another groan that turned into an unmistakably feminine shriek.

Rabbi Gotsce felt called upon to explain. “Mistress Dina.”

“The baby?” demanded Adelia.

“A little before its time,” the rabbi told her, “but the women have hopes of its safe arrival.”

She heard Gyltha say, “The Lord giveth and the Lord taketh away.”

Adelia did not ask how Dina did, for at that moment, Dina obviously did badly. Adelia’s shoulders drooped as a little of the anger went out of her. Something would be gained, then, some new, good thing in a wicked world.

The rabbi saw it. “You are a Jew, madam?”

“I was brought up by a Jew. I am nothing except Simon’s friend.”

“So he told me. Be at peace, my daughter. For us of this poor little community, your friend’s burial is a sacred task obligatory to us all. Already we have performed the Tahara, the washing and cleansing of his body as it begins its journey to its next stage. He has been clad in the simple white shroud of the Tachrichim. A coffin of willow twigs as commanded by the great sage, Rabban Gamliel, is even now being prepared for him. See? I tear my clothes for him.” The rabbi ripped the front of his already somewhat ragged tunic in the gesture of ritual mourning.

She should have known. “Thank you, Rabbi, thank you.” However, there was one more thing. “But he should not be left alone.”

“He is not alone. Old Benjamin acts as shomer and keeps vigil over him and is reciting the appropriate psalms.” Rabbi Gotsce looked around. The prior and the tax collector were deep in discussion. He lowered his voice. “As to the burial. We are a flexible people, we have had to be, and the Lord recognizes what is impossible for us. He is not unkind if we adapt a little.” His voice lowered almost to a whisper. “We have always found that Christian laws, too, are flexible, especially when it comes to money. We are collecting what little cash we have between us to buy a plot in the earth of this castle where our friend may be laid with reverence.”

Adelia smiled for the first time that day. “I have money, and plenty.”

Rabbi Gotsce stood back. “Then what need to worry?” He took her hand to pronounce the blessing prescribed for those that mourned, “Blessed is the Eternal our God, Ruler of the universe, the true judge.”

For a moment, Adelia felt a grateful peace; perhaps it was the blessing, perhaps it was being in the presence of well-intentioned men, perhaps it was the advent of Dina’s baby.

Yet, she thought, however they bury him, Simon is dead; something of great value has been withdrawn from the world. And you, Adelia, are called upon to establish whether it was taken accidentally or through murder-no one else can.

She still felt a reluctance to examine Simon’s body, which, she realized, was partly a fear of what it might tell her. If the beast at large had killed him, it had made a mortal thrust not only at Simon but at her resolve to continue their mission. Without Simon, the responsibility was hers only, and without Simon she was a lonely, broken, and very frightened reed.

But the rabbi, to whom Sir Rowley had been speaking very fast, wasn’t intending to let her near the body of Simon of Naples. “No,” he was saying, “not at all, and certainly not a woman.”

“Dux femina facti,” interjected Prior Geoffrey helpfully.

“Sir, the prior is right,” Rowley pleaded. “In this matter, the leader of our enterprise is a woman. The dead speak to her. They tell her the cause of the death, from which we may deduce who caused it. We owe it to the dead man, to justice, to see if the children’s killer was also his. Lord’s sake, man, he was acting for your people. If he was murdered, don’t you want him avenged?”

“Exoriare aliquis nostris ex ossibus ultor.” The prior was still being helpful. “Rise up from my dead bones, avenger.”

The rabbi bowed. “Justice is good, my lord,” he said, “but we have found that it is only in the next world that it can be achieved. You ask that this be done for the Lord’s sake, yet how can we please the Lord by breaking His laws?”

“Stubborn beggar, that one,” Gyltha said to Adelia, shaking her head.

“It’s what makes him a Jew.”

Sometimes Adelia wondered how both the race and the religion had survived at all in the face of an almost universal and, to her, inexplicable hostility. Homelessness, persecution, degradation, attempted genocide, all these things had been visited on the Jewish people-who clung even more tenaciously to their Jewishness. During the First Crusade, Christian armies, filled with religious zeal and liquor, seeing it as their evangelic duty to convert such Jews they came across, had presented them with the alternative of baptism or death. The answer had been thousands of dead Jews.

A reasonable man, Rabbi Gotsce, but he would die on the steps of this tower before a tenet of his faith was broken and a woman was allowed to touch the corpse of a man, however gainful that touch might prove.

Which only showed, Adelia thought, that the three great religions were at least united when it came to the inferiority of her sex. Indeed, a devout Jew at his prayers thanked God every day that he had not been born a woman.

While her mind was occupied, there had been energetic talk in progress in which Sir Rowley’s voice was uppermost. He came over to her now. “I’ve gained this much,” he said. “The prior and I are to be allowed to look at the body. You may stay outside and tell us what to look for .”

Ludicrous, but it seemed to suit everybody, including herself…

With considerable labor, the Jews had carried the corpse to the room at the top of the tower, the only one unoccupied, in which she and Simon and Mansur had first encountered Old Benjamin and Yehuda.

As if afraid that she might invade it in an excess of zeal, the rabbi made Adelia wait on the landing of the staircase below, the Safeguard with her. She heard the door of the room open. A quick burst of Old Benjamin’s voice chanting the Tehillim came down the stairwell to her before the door closed again.

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