Ariana Franklin - Mistress of the Art of Death

Здесь есть возможность читать онлайн «Ariana Franklin - Mistress of the Art of Death» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Жанр: Триллер, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

Mistress of the Art of Death: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «Mistress of the Art of Death»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

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."

Mistress of the Art of Death — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «Mistress of the Art of Death», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

He is too light a man for me; not in weight certainly, but in gravitas. This is an infliction, a madness wreaked on me by a garden in springtime and his unsuspected kindness. Or because I am desolate just now. It will pass; it has to pass.

He was talking with animation about Henry II. “I am the king’s man in all things. Today his tax collector, tomorrow-whatever he wants me to be.” He turned to her. “Who was Simon of Naples? What did he do?”

“He was…” Adelia tried to gather her wits “Simon? Well…he worked secretly for the King of Sicily, among others.” She clenched her hands-he must not see that they trembled; he must not see that. She concentrated. “He told me once that he was analogous to a doctor of the incorporeal, a mender of broken situations.”

“A fixer. ‘Don’t worry, Simon of Naples will see to it.’”

“Yes. I suppose that is what he was.”

The man beside her nodded, and because she was now furiously interested in who he was, in everything about him, she understood that he, too, was a fixer and that the King of England had said in his Angevin French, “Ne vous en faites pas, Picot va tout arranger.”

“Strange, isn’t it,” the fixer said now, “that the story begins with a dead child.”

A royal child, heir to the throne of England and the empire his father had built for him. William Plantagenet, born to King Henry II and Queen Eleanor of Aquitaine in 1153. Died 1156.

Rowley: “Henry doesn’t believe in crusade. Turn your back, he says, and while you’re away, some bastard’ll steal your throne.” He smiled. “Eleanor does, however; she went on one with her first husband.”

And had created a legend still sung throughout Christendom-though not in churches-and brought to Adelia’s mind images of a bare-breasted Amazon blazing her naughty progress across desert sands, trailing Louis, the poor, pious king of France, in her wake.

“Young as he was, the child William was forward and had vowed he would go on crusade when he grew up. They even had a little sword made for him, Eleanor and Henry, and after the boy died, Eleanor wanted it taken to the Holy Land.”

Yes, Adelia thought, touched. She had seen many such pass through Salerno, a father carrying his son’s sword, a son his father’s, on their way to Jerusalem on vicarious crusade as a result of a penance or in response to a vow, sometimes their own, sometimes that of their dead, which had been left unfulfilled.

Perhaps a day or so ago she would not have been so moved, but it was as if Simon’s death and this new, unsuspected passion had opened her to the painful loving of all the world. How pitiable it was.

Rowley said, “For a long time the king refused to spare anybody; he held that God would not refuse Paradise to a three-year-old child because he hadn’t fulfilled a vow. But the queen wouldn’t let it rest and so, what was it, nearly seven years ago now, I suppose, he chose Guiscard de Saumur, one of his Angevin uncles, to take the sword to Jerusalem.”

Again, Rowley grinned. “Henry always has more than one reason for what he does. Lord Guiscard was an admirable choice to take the sword: strong, enterprising, and acquainted with the East, but hot-tempered like all Angevins. A dispute with one of his vassals was threatening peace in the Anjou, and the king felt that Guiscard’s absence for a while would allow the matter to calm down. A mounted guard was to go with him. Henry also felt that he should send a man of his own with Guiscard, a wily fellow with diplomatic skills, or, as he put it, ‘Someone strong enough to keep the bugger out of trouble.’”

“You?” Adelia asked.

“Me,” Rowley said smugly. “Henry knighted me at the same time because I was to be the sword carrier. Eleanor herself strapped it to my back, and from that day until I returned it to young William’s tomb, it never left me. At night, when I took it off, I slept with it. And so we all set off for Jerusalem.”

The place’s name overcame the garden and the two people in it, filling the air with the adoration and agony of three inimical faiths, like planets humming their own lovely chords as they hurtled to collide.

“ Jerusalem,” Rowley said again, and his words were those of the Queen of Sheba: “Behold, the half was not told me.”

As a man entranced, he had trodden the stones made sacred by his Savior, shuffled on his knees along the Via Dolorosa, prostrated himself, weeping, at the Holy Sepulchre. It had seemed good to him, then, that this navel of all virtue should have been cleansed of heathen tyranny by the men of the First Crusade so that Christian pilgrims should once more be able to worship it as he worshipped. He had floundered in admiration for them.

“Even now I don’t know how they did it.” He was shaking his head, still wondering. “Flies, scorpions, thirst, the heat-your horse dies under you, just touching your damned armor blisters your hands. And they were outnumbered, ravaged by disease. No, God the Father was with those early crusaders, else they could never have recaptured His Son’s home. Or that’s what I thought then.”

There were other, profane pleasures. The descendants of the original crusaders had come to terms with the land they called Outremer; indeed, it was difficult to distinguish between them and the Arabs whose style of living they now imitated.

The tax collector described their marble palaces, courtyards with fountains and fig trees, their baths-“I swear to you, great Moorish baths sunk into the floor”-and the rich, pungent scent of seduction drenched the little garden.

Rowley, particularly, of all his group of knights, had been bewitched, not just by the outlandish, exotic holiness of the place but by its diffusion and complexity. “That’s what you don’t expect-how tangled it all is. It’s not plain Christian against plain Saracen, nothing as straightforward as that. You think, God bless, that man’s an enemy because he worships Allah. And, God bless, that fellow kneeling to a cross, he’s a Christian, he must be on our side-and he is a Christian, but he isn’t necessarily on your side, he’s just as likely to be in alliance with a Moslem prince.”

That much Adelia knew. Italian merchant-venturers had traded happily with their Moslem counterparts in Syria and Alexandria long before Pope Urban called for the deliverance of the Holy Places from Mohammedan rule in 1096, and they had cursed the crusade to hell then and cursed again in 1147, when men of the Second Crusade went into the Holy Land once more with no more understanding than their predecessors had had of the human mosaic they were invading, thus disrupting a profitable cooperation that had existed for generations between differing faiths.

As Rowley described a mélange that had delighted him, Adelia was alarmed at how the last of her defenses against him crumbled. Always one to categorize, quick to condemn, she was finding in this man a breadth of perception rare in crusaders. Don’t, don’t. This infatuation must be dispelled; it is necessary for me not to admire you. I do not wish to fall in love.

Unaware, Rowley went on. “At first I was amazed that Jew and Moslem were as ardent in their attachment to the Holy Temple as I was, that it was equally holy to them.” While he did not allow the realization to put a creep of doubt into his mind about the rightness of the crusading cause-“that came later”-he nevertheless began to find distasteful the loud, bullying intolerance of most of the other newcomers. He preferred the company and way of life of crusaders who were descendants of crusaders and who had accommodated themselves to its melting pot. Thanks to their hospitality, the aristocratic Guiscard and his entourage were able to enjoy it.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «Mistress of the Art of Death»

Представляем Вашему вниманию похожие книги на «Mistress of the Art of Death» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Отзывы о книге «Mistress of the Art of Death»

Обсуждение, отзывы о книге «Mistress of the Art of Death» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.

x