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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“There will be no more visitors to this room,” Adelia instructed. “And none of you, especially Ulf, is to leave the castle or wander in it alone.”

“Goddammit, woman, we’ll never find him like that.”

Rowley, it appeared, had been carrying on his own investigation from his bed, using his role as tax inspector to question his visitors.

From the Jews he had learned that Chaim, according to his code, had never talked about his clients nor mentioned the size of their debts. His only records were those that had burned or been stolen from Simon’s body.

“Unless the Exchequer in Winchester has a list of tallies, which it may well do-I’ve sent my squire there to find out-the king will not be best pleased; the Jews provide a large part of this nation’s income. And when Henry isn’t pleased…”

Brother Gilbert had announced that he would rather burn than approach Jews for money. The crusading apothecary as well as Sir Joscelin and Sir Gervase had said the same, though less forcefully. “They’re not likely to tell me if they did, of course, but all three seem finely set up from their own efforts.”

Gyltha nodded. “They done well out of the Holy Land. John was able to start his ’pothecary shop when he got back. Gervase, nasty little turd he was as a boy and he ain’t any pleasanter now, but he’s getting hisself more land. And young Joscelin as didn’t have a rag to his arse thanks to his pa, he’s made a palace out of Grantchester. Brother Gilbert? He’s allus Brother Gilbert.”

They heard labored breathing on the stairs and Lady Baldwin came in, holding her side with one hand and a letter in the other. “Sickness. At the convent. Lord help us. If it be the plague…”

Matilda W. followed her in.

The letter was for Adelia and had been delivered first to Old Benjamin’s house whence Matilda W. had brought it. It was a scrap of parchment torn from some manuscript, showing its terrible urgency, but the writing on it was strong and clear.

“Prioress Joan presents her compliments to Mistress Adelia, assistant to Dr. Mansur, of whom she has heard good reports. Pestilence has broken out amongst us and I ask in the name of Jesus and his dear Mother for said Mistress Adelia to visit this convent of the blessed Saint Radegund that she may then report to the good doctor and solicit his advice on what may alleviate the sisters’ suffering, it being very severe and some near to death.”

A postscript read: “To be no haggling over fees. All this to be done with discretion so as to avoid the spread of alarm.”

A groom and horse were awaiting Adelia in the courtyard below.

“I shall send you with some of my beef tea,” Lady Baldwin told Adelia. “Joan is not usually alarmed. It must be dire.”

It must be, Adelia thought, for a Christian prioress to beg the aid of a Saracen doctor.

“The infirmaress have gone down with it,” Matilda W. said-she’d heard the groom’s report. “Spewing and shitting fit to bust, the lot of ’em. God help us if it be the plague. Ain’t this town suffered enough? What’s Little Saint Peter at that the holy sisters ain’t spared?”

“You will not go, Adelia,” Rowley said.

“I must.”

“I fear she should,” said Lady Baldwin. “The prioress does not allow a man in the nuns’ inner sanctum, despite those wicked rumors, except a priest to hear their confession, of course. With the infirmaress hors de combat, Mistress Adelia is the next best thing, an excellent thing. If she keeps a clove of garlic up each nostril, she cannot succumb.” She hurried away to prepare her beef tea.

Adelia was giving explanations and instruction to Mansur. “O friend of the ages, look after this man and this woman and this boy while I am absent. Let them go nowhere alone. The devil is abroad. Guard over them in the name of Allah.”

“And who shall guard over you, little one? The holy women will not object to the presence of a eunuch.”

Adelia smiled. “It is not a harem, the women safeguard their temple from all men. I shall be safe enough.”

Ulf was tugging at her arm. “I can come. I ain’t growed yet, they know me at Saint Raggy’s. And I don’t never catch nothing.”

“You’re not going to catch this, either,” she said.

“You will not go, ” Rowley said. Wincing, he dragged Adelia to the window away from the others. “It’s a bloody plot to get you unprotected. Rakshasa’s in it somewhere.”

Back on his feet, Adelia was reminded of how big he was and what it was for a powerful man to be kept powerless. Nor had she realized that, for him, Simon’s murder had seemed a preliminary to her own. Just as she was frightened for him, so was he for her. She was touched, gratified, but there were things to attend to-Gyltha must be told to change the medicines on the table; she had to collect others from Old Benjamin’s…she didn’t have time for him now.

“You’re the one who’s been asking questions,” she said gently. “I beg you to take care of yourself and my people. You merely need nursing at this stage, not a doctor. Gyltha will look after you.” She tried to disengage herself from him. “You must see that I have to go to them.”

“For God’s sake,” he shouted. “You can stop playing the doctor for once, can’t you?”

Playing the doctor. Playing the doctor?

Though his hand was still on her, it was as if the ground had fallen between them, and looking up into his eyes, she saw herself across the chasm-a pleasant little creature enough but a deluded one, merely busying itself, a spinster filling in time until she should be claimed by what was basic for a woman.

But if so, what was the line of suffering that waited for her every day? What was Gil the thatcher who was able to climb up ladders?

And what are you, she thought, amazed, looking into his eyes, who should have bled to death and didn’t?

She knew in absolute certainty now that she should never marry him. She was Vesuvia Adelia Rachel Ortese Aguilar, who would be very, very lonely but always a doctor.

She shook herself free. “The patient can resume solid food, Gyltha, but change all those medicaments for fresh,” she said and went out.

Anyway, she thought, I need that fee the prioress promised.

SAINT RADEGUND’S CHURCH and its outhouses near the river were deceptive, having been built after the Danes stopped invading and before the foundation ran out of money. The main body of the convent, its chapel and residences, was larger and lonelier and had known the reign of Edward the Confessor.

It stood away from the river hidden among trees so that Viking longboats snaking through the shallow waters of the Cam tributaries might not find it. When the monks, who’d inhabited it originally, died out, the place had been granted to religious women.

All this Adelia learned over the shoulder of Edric as, with Safeguard following, his horse carried them both into the convent estate via a side gate in its wall, the main gates having been barred against visitors.

Like Matilda W., the groom was aggrieved by Little Saint Peter’s failure to do his job. “It do look bad shutting up, with the pilgrim season just starting proper,” he said. “Mother Joan’s right put out.”

He set Adelia down by a stable block and kennels, the only well-kept convent buildings she had seen so far, and pointed to a path skirting a paddock. “God go with you, missis.” Obviously, he would not.

Adelia, however, was not prepared to be cut off from the outside world. She ordered the man to go to the castle each morning, taking any message she might need to send and asking how her people did, and to bring back the answer.

She set off with Safeguard. The clatter of the town across the river faded. Larks rose around her, their song like bursting bubbles. Behind her the prioress’s hounds sent up a belling and a roe deer barked somewhere in the forest ahead.

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