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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Could she even exist? Patients had been redirected to the castle while she’d been there, and, in between looking after Rowley, she and Mansur had attended to them. But nearly all were too poor to pay cash.

Her anxiety was not placated when, on entering the castle’s tower room with Safeguard, she found Sir Rowley up and dressed, sitting on the bed, and chatting with Sir Joscelin of Grantchester and Sir Gervase of Coton. As she bustled toward him, she said irritably to Gyltha, who stood sentinel-like in a corner, “He’s supposed to be resting.” She ignored the two knights who had risen at her entrance-Gervase reluctantly and only at a signal from his companion. She took the patient’s pulse. It was steadier than her own.

“Don’t be angry with us, mistress,” Sir Joscelin said. “We came to sympathize with Sir Rowley. It was God’s mercy you and the doctor were by. The wretch Acton…we can only hope the assize will not allow him to escape the rope. We are all agreed hanging’s too good for him.”

“Are you, indeed?” she snapped.

“The lady Adelia does not countenance hanging; she has crueler methods,” Rowley said. “She’d treat all criminals with a hearty dose of hyssop.”

Sir Joscelin smiled. “Now that is cruel.”

“And your methods are effective, are they?” Adelia asked. “Blinding and hanging and cutting off hands makes us all safer in our beds, does it? Kill Roger of Acton and there will be no more crime?”

“And the killer of the children, mistress,” Sir Joscelin asked gently. “What would you have done to him?”

Adelia was slow to answer.

“She hesitates,” Sir Gervase said with disgust. “What sort of woman is she?”

She was a woman who regarded legislated death as an effrontery by those imposing it-so easily and sometimes for so little cause-because life, to her, who wished to save it, was the only true miracle. She was a woman who never sat with the judge or stood with the executioner but always clung to the bar with the accused. Would I have come to this place in his or her circumstances? Had I been born to what he or she was born to, would I have done differently? If someone other than two doctors from Salerno had picked up the baby on Vesuvius, would it cower where this man or woman cowers?

For her, the law should be the point at which savagery ended because civilization stood in its path. We do not kill because we stand for betterment. She supposed the killer had to die and most certainly would, the putting down of a rabid animal, but the doctor in her would always wonder why it had turned rabid and grieve for not knowing.

She turned away from them to go to the medicine table and noticed for the first time how rigidly Gyltha was standing. “What’s the matter?”

The housekeeper looked worn, suddenly aged. Her hands were flat and supporting a small reed casket in much the same manner as the faithful received consecrated bread from the priest before putting it into the mouth.

Rowley called from his bed, “Sir Joscelin has brought me some sweetmeats, Adelia, but Gyltha won’t let me have them.”

“Not I,” Joscelin said. “I am merely their porter. Lady Baldwin asked me to carry them up the stairs.”

Gyltha’s eyes held Adelia’s, then looked down at the casket. Letting it rest on one hand, she raised its lid slightly with the other.

Inside, lying on pretty leaves, like eggs in a nest, was an assortment of colored, scented, lozenge-shaped jujubes.

The two women stared at each other. Adelia felt ill. With her back to the men, she silently shaped the word: “Poison?”

Gyltha shrugged.

“Where’s Ulf?”

“Mansur,” Gyltha mouthed back. “Safe.”

Adelia said slowly, “The doctor has forbidden Sir Rowley confits.”

“Hand them round to our visitors, then,” Rowley called from his bed.

We can’t hide from Rakshasa, Adelia thought. We are targets; wherever we are, we stand exposed like straw men for him to shoot at.

She nodded her head toward the door and turned to the men, while behind her, Gyltha left the room, carrying the casket with her.

The medicines. Hurriedly, Adelia checked them. All stoppers were in place, the boxes piled neatly as she and Gyltha always left them.

You are being absurd, she thought; he is somewhere outside; he cannot have tampered with anything. But last night’s horror of a Rakshasa with wings was on her and she knew she would change every herb, every syrup on the table before administering them.

Is he outside? Has he been here? Is he here now?

Behind her, the conversation had turned to horses as it always did among knights.

She was aware of Gervase lolling in his chair because she felt his awareness of her. His sentences were grunted and abstracted. When she glanced at him, his look turned to a deliberate sneer.

Killer or not, she thought, you’re a brute and your presence is an insult. She marched to the door and held it open. “The patient is tired, gentlemen.”

Sir Joscelin rose. “We are sorry not to have seen Dr. Mansur, aren’t we, Gervase? Pass on our compliments to him, if you would.”

“Where is he?” Sir Gervase demanded.

“Improving Rabbi Gotsce’s Arabic,” Rowley told him.

As he passed her on his way out, Gervase muttered, as if to his companion, “That’s rich, a Jew and a Saracen in a royal castle. Why to hell did we go on crusade?”

Adelia slammed the door behind him.

Rowley said crossly, “Damn it, woman, I was edging the talk round to Outremer to find out who was where and when; one might let something slip about the other.”

“Did they?” she demanded.

“You ushered them out too fast, damn it.” Adelia recognized the irritability of recuperation. “Oddly enough, though, Brother Gilbert admitted to being in Cyprus at about the right time.”

“Brother Gilbert was here?”

And Prior Geoffrey and Sheriff Baldwin and the apothecary-with a concoction he’d sworn would heal a wound within minutes- and Rabbi Gotsce. “I’m a popular man. What’s the matter?” For Adelia had slammed a box of powdered burdock so hard on the table that its lid came off, emitting a cloud of green dust.

“You are not popular,” she said, teeth gritted. “You are a corpse. Rakshasa would poison you.”

She went back to the door, calling for Gyltha, but the housekeeper was already coming up the stairs, still holding the casket. Adelia snatched it from her, opened it, and shoved it under Rowley’s nose. “What are those?”

“Dear Christ,” he said. “Jujubes.”

“I been asking round,” Gyltha said. “Little girl handed ’em to one of the sentries, saying as they was from her mistress for the poorly gentleman in the tower. Lady Baldwin was going to carry ’em up, but Sir Joscelin said he’d save her legs. Always the polite gentleman, he is, not like t’other.”

Gyltha didn’t hold with Sir Gervase.

“And the little girl?”

“Sentry’s one of them sent from London by the king to help guard the Jews. Barney, his name is. Didn’t know her, he says.”

Mansur and Ulf were summoned so that the matter could be gone over in conference.

“They could be merely jujubes, as they seem,” said Rowley.

“Suck one an’ see,” Ulf told him sharply. “What you think, missus?”

Adelia had picked one up in her tweezers and was smelling it. “I can’t tell.”

“Let’s test them,” Rowley said. “Let’s send them down to the cells for Roger of Acton, with our compliments.”

It was tempting, but instead Mansur took them down to the courtyard to throw the casket on the smithy fire.

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