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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But to the owner of the coming footsteps, she had shown grief and panic, called for help, pleaded, had leaned on him, even in her misery had been grateful that he was with her.

Accordingly, the face Adelia turned up to Sir Rowley Picot was blank. “What was the verdict?”

She had not been called to give evidence to the jurors hastily assembled for the inquest on Simon’s body. Sir Rowley had felt that it would not be in her interest, nor that of the truth, if she were exposed as an expert on death. “You’re a woman, for one thing, and a foreigner, for another. Even if they believed you, you would achieve notoriety. I will show them the bruise on his back and explain that he was trying to investigate the finances of the children’s killer and therefore became the murderer’s victim, though I doubt whether coroner or jury-they’re all bumpkins-will have the wit to follow that tangled skein with any credence.”

Now, from his look, she saw that they had not. “Accidental death by drowning,” he told her. “They thought I was mad.”

He put his hands on the crenel and expelled an exasperated breath at the town below. “All I may have achieved is to sap their conviction by an inch or two that it was one of their own and not the Jews who murdered Little Saint Peter and the others.”

For a second, something reared in the turbulence of Adelia’s mind, showing hideous teeth, then sank again, to be hidden by grief, disappointment, and anxiety.

“And the burial?” she asked.

“Ah,” he said. “Come with me.”

Slavishly, the Safeguard was on its spindle legs in a minute and trotting after him. Adelia followed more slowly.

Building was in progress in the great courtyard. The chatter of gathered clerks was being drowned by an insistent, deafening banging of hammer on wood. A new scaffold was going up in one corner to hold the triple gallows for use in the assizes when the justices in eyre emptied the county’s gaols and tried the cases of those thus brought before them. Almost as high as the nooses would be, a long table and a bench reached by steps were being erected near the castle doors to place the judges above the multitude.

Some of the din faded as Sir Rowley led Adelia and her dog round a corner. Here, sixteen years of royal Plantagenet peace had allowed Cambridgeshire’s sheriffs to throw out an abutment, an attachment to their quarters from which steps led down to this sunken walled garden approached from outside by a gate in an arch.

Inside, going down the steps, it was quieter still, and Adelia could hear the first bees of spring blundering in and out of flowers.

A very English garden, planted for medicine and strewing rather than spectacle. At this time of year, color was lacking except for the cowslips between the stones of the paths and a mere impression of blue where a bank of violets crowded along the bottom of a wall. The scent was fresh and earthy.

“Will this do?” Sir Rowley asked casually.

Adelia stared at him, dumb.

He said with exaggerated patience, “This is the garden of the sheriff and his lady. They have agreed to let Simon be buried in it.” He took her arm and led her down a path to where a wild cherry tree drifted delicate white blossoms over untended grass sprinkled with daisies. “Here, we thought.”

Adelia shut her eyes and breathed in. After a while, she said, “I must pay them.”

“Certainly not.” The tax collector was offended. “When I say that this is the sheriff’s garden, I should more properly call it the king’s, the king being the ultimate owner of England ’s every acre, except those belonging to the Church. And since Henry Plantagenet is fond of his Jews and since I am Henry Plantagenet’s man, it was merely a matter of pointing out to Sheriff Baldwin that by accommodating the Jews, he would also be accommodating the king, which, in another sense, he will-and soon, since Henry is due to visit the castle shortly, another factor I pointed out to his lordship.”

He paused, frowning. “I shall have to press the king for Jewish cemeteries to be put in each town; the lack is a scandal. I cannot believe he’s aware of it.”

No money was involved, then. But Adelia knew whom she should pay. It was time to do it, and do it properly.

She bent her knee to Rowley Picot in a deep bow. “Sir, I am in your debt, not only for this kindness, but for ill suspicion that I have harbored against you. I am truly sorry for it.”

He looked down at her. “What suspicion?”

She grimaced with reluctance. “I believed you might be the killer.”

“Me?”

“You have been on crusade,” she pointed out, “as, I think, has he. You were in Cambridge on the pertinent dates. You were among those near Wandlebury Ring on the night the children’s bodies were moved…” God’s rib, the more she expounded the theory, the more reasonable it seemed; why should she apologize for it? “How else would I think?” she asked him.

He had become statuelike, his blue eyes staring at her, one finger pointing at her in disbelief and then at himself. “Me?”

She became impatient. “I see it was a base suspicion.”

“It damned well was,” he said with force, and startled a robin into flying away. “Madam, I would have you know I like children. I suspect I may have fathered quite a few, even if I can’t claim any. Goddammit, I’ve been hunting the bastard, I told you I was.”

“The killer could have said as much. You did not explain why.”

He thought for a moment. “I didn’t, did I? Strictly speaking, it is nobody’s business except mine and…though in the circumstances…” He stared down at her. “This will be a confidence, madam.”

“I shall keep it,” she said.

There was a turfed seat farther up the garden where young hop leaves formed a tapestry against the brick of the wall. He pointed her to it and then sat beside her, his linked hands cradling one of his knees.

He began with himself. “You should know that I am a fortunate man.” He had been fortunate in his father, who was saddler to the lord of Aston in Hertfordshire and had seen to it that he had schooling, fortunate in the size and strength that made people notice him, fortunate in possessing a keen brain. “You should also know that my mathematical prowess is remarkable, as is my grasp of languages…”

Not backward in coming forward, either, Adelia thought, amused. It was a phrase she’d picked up from Gyltha.

Young Rowley Picot’s abilities had early been recognized by his father’s lord, who had sent him to the School of Pythagoras here in Cambridge where he had studied Greek and Arab sciences and where, in turn, he’d been recommended by his tutors to Geoffrey De Luci, chancellor to Henry II, and taken into his employment.

“As a tax collector?” Adelia asked innocently.

“As a chancery clerk,” Sir Rowley said, “to begin with. Eventually, I came to the attention of the king himself, of course.”

“Of course.”

“Will I proceed with this narrative?” he wanted to know. “Or shall we discuss the weather?”

Chastened, she said, “I beg you to continue, my lord. Truly, I am interested.” Why am I teasing him, she wondered, on this day of all days? Because he makes it bearable for me with everything he does and says.

Oh, dear God, she thought with shock, I am attracted to him.

The realization came like an attack, as if it had been gathering itself in some cramped and secret place inside her and had grown suddenly too big to remain unnoticed any longer. Attracted ? Her legs were weak with it, her mind registering intoxication as well as something like disbelief at the improbability and protest at the sheer inconvenience.

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