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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Adelia sat up as a cowled figure punted past. “Who’s that?”

Ulf peered through the fading light. “Him? That’s old Brother Gil.”

Brother Gilbert, eh? “Where’s he going?”

“Taking the host to the hermits. Barnwell’s got hermits, same as the nuns, and near all of ’em live along the banks upriver in the forests.” Ulf spat. “Gran don’t hold with them. Dirty old scarecrows, she reckon, cuttin’ theyselves off from everybody else. Ain’t Christian, Gran says.”

So Barnwell’s monks used the river to supply the recluses just as the nuns did.

“But it’s evening,” Adelia said. “Why do they go so late? Brother Gilbert won’t be back in time for Compline.”

The religious lived by the tolling of holy hours. For Cambridge generally, the bells acted as a daytime clock; appointments were made by them, sandglasses turned, business begun and closed; they rang laborers to their fields at Lauds, sent them home at vespers. But their clanging by night allowed sleeping laity the schadenfreude of staying in bed while nuns and monks were having to issue from their cells and dorters to sing vigils.

An appalling knowingness spread over Ulf’s unlovely little features. “That’s why,” he said. “Gives ’em a night off. Good night’s sleep under the stars, bit of hunting or fishing next day, visit a pal, maybe, they all do it. ’Course the nuns take advantage, Gran says, nobody don’t know what they get up to in them forests. But…”

Suddenly, he was squinting at her. “Brother Gilbert?”

She squinted back, nodding. “He could be.” How vulnerable children were, she thought. If Ulf with all his mother-wit and knowledge of the circumstances was slow to suspect someone of standing that he knew, the others had been easy prey.

“He’s grumpy, old Gil, I grant,” the child said, reluctant, “but he speaks fair to young ’uns and he’s a cru-” Ulf clapped his hands over his mouth and for the first time Adelia saw him discomposed. “Oh my arse, he went on crusade.”

The sun was down now and there were fewer boats on the Cam; those that were had lanterns at the prow so that the river became an untidy necklace of lights.

Still the two of them sat where they were, reluctant to leave, attracted and repelled by the river, so close to the souls of the children it had taken that the rustle of its reeds seemed to carry their whispers.

Ulf growled at it. “Why don’t you run backwards, you bugger?”

Adelia put her arm round his shoulders; she could have wept for him. Yes, reverse nature and time. Bring them home.

Matilda W.’s voice shrieked for them to come in for their supper.

“How’s about tomorrow, then?” Ulf asked as they walked up to the house. “We could take old Blackie. He punts well enough.”

“I wouldn’t dream of going without Mansur,” she said, “and if you don’t show him respect, you will stay behind.”

She knew, as Ulf did, that they must explore the river. Somewhere along its banks there was a building, or a path leading to a building, where such horror had occurred that it must declare itself.

It might not have a sign outside to that effect, but she would know it when she saw it.

THAT NIGHT, there was a figure standing on the far bank of the Cam.

Adelia saw it from her open solar window when she was brushing her hair and was so afraid she could not move. For a moment, she and the shadow under the trees faced each other with the intensity of lovers separated by a chasm.

She backed away, blowing out her candle and feeling behind her for the dagger she kept on her bedside table at night, not daring to take her eyes off the thing on the other bank in case it leaped across the water and in through the window.

Once she had steel in her hand she felt better. Ridiculous. It would need to have wings or a siege ladder to reach Old Benjamin’s windows. It couldn’t see her now; the house was in darkness.

But she knew it watched as she closed the lattice. Felt its eyes piercing the walls as she padded on bare feet downstairs to make sure everywhere was bolted, Safeguard reluctantly following.

Two arms raised a weapon above her head as she reached the hall.

“Gor bugger,” said Matilda B. “You gone and scared the shit out of I.”

“Likewise,” Adelia told her, panting. “There’s somebody across the river.”

The maid lowered the poker she’d been holding. “Been there every night since your lot went to the castle. Watching, always watching. And little Ulf the only man in the place.”

“Where is Ulf?”

Matilda pointed toward the stairs to the undercroft. “Safe asleep.”

“You’re sure?”

“Certain.”

Together the two women peered through a pane in the rose window.

“Gone now.”

That the figure had disappeared was worse than if it were still there.

“Why didn’t you tell me?” Adelia wanted to know.

“Reckon as you had enough on your shoulders. Told the watch, though. Shit lot of good they were. Didn’t see nobody nor nothin’, not surprising, the rumpus they made marching over the bridge to get there. Peeping Tom, they reckoned it was.”

Matilda B. went to the middle of the room to replace the poker. For a second, it vibrated against the bars of the fire grate as if the hand that held it was shaking too much to release it. “Ain’t a Peeping Tom, though, is it?”

“No.”

The next day, Adelia moved Ulf into the castle tower to stay with Gyltha and Mansur.

Thirteen

You will not go without me,” Sir Rowley said, struggling out of bed and falling. “Ow, ow, God rot Roger of Acton. Give me a cleaver and I’ll chop his privates for him, I’ll use them for fish bait, I’ll…”

Trying not to laugh, Adelia and Mansur raised her patient from the floor and put him back to bed. Ulf retrieved his nightcap and replaced it on his head.

“It will be safe enough with Mansur and Ulf-and we are going in daylight,” she said. “You, on the other hand, will indulge in light exercise. A gentle walk round the room to strengthen the muscles, that is all you are capable of at the moment, as you see.”

The tax collector let out a snarl of frustration and hammered his bedclothes, an action that caused another moan, this time of pain.

“Stop that nonsense,” Adelia told him. “Anyway, it wasn’t Acton who wielded the cleaver. I’m not sure who it was, there was such a confusion.”

“I don’t care. I want him hanged before the assize judges look at his bloody tonsure and let him go.”

“He should be punished,” she said. Acton was certainly responsible for whipping into a frenzy the group that had forced their way in to desecrate Simon’s grave. “But I hope he is not hanged.”

“He attacked a royal castle, woman, he damn near neutered me, he needs basting over a slow fire with a spit up his arse.” Sir Rowley shifted his position and looked at her sideways. “Have you at all dwelt on the fact that you and I were the only ones to receive injury in the melee? Apart from the likely lads I put out of action, I mean.”

She had not. “In my case, a broken nose hardly merits the title of injury.”

“It could have been a great deal worse.”

It could, but it had been accidental; in a sense, her own fault for running into battle.

“Moreover,” Rowley said, still cunning, “the rabbi remained unhurt.”

She was becoming confused. “Are you implicating the Jews?”

“Of course not. I am merely pointing out that the good rabbi was not set upon. What I’m saying is that only two people remain inquiring into the death of the children now that Simon is dead. You and I. And we were hurt.”

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