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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Courage returned to Adelia. And hatred. And ferocity. No pain on earth could stop her from this. Rakshasa had turned half away from her in Ulf’s direction. She jerked her hands and the bolt came out of the wall. In the same movement she brought her arms down so that the chain connecting the manacles to each other should go over Rakshasa’s neck that she might throttle him with it.

She hadn’t achieved enough height, and the chain caught on the antlers. She swung on it so that the headdress tilted ludicrously backward and to one side, its strings dragging tight under Rakshasa’s nose and across his eyes.

For a moment he was blinded, and the assault took him off balance. His foot slid and he went down, Adelia with him-into the segments of dog intestines that made the floor slippery.

There was grunting, hers or Rakshasa’s, and she hung on, she couldn’t do anything else, linked by chain to the antlers, to which he was linked by string; they were joined together, his body crooked under hers, her knees on his outstretched knife arm. Awkwardly placed, he struggled to throw her off so that he could strike backward with it; she struggled so that he shouldn’t displace and kill her. All the time she was shouting: “Get out, Ulf. The ladder. Get out.

The back beneath her rose; she rose with it and then went down as Rakshasa slipped again. The knife went out of his hand into the slick. Still carrying Adelia, he crawled for it, shoving against Ulf and Veronica in his effort so that they fell into the melee. The four of them rolled back and forth across the mess of the floor in an intricate bundle.

There was a new element somewhere. A sound. It meant nothing; Adelia was blind and deaf. Her hands had found the antlers and were awkwardly twisting them so that a point should go into Rakshasa’s skull. The new noise was nothing, her own agony nothing. Twist. Into the brain . Twist. Mustn’t bump me off. Mustn’t let go. Twist. Kill.

The string on the antlers broke, leaving them in her hands. The body beneath slithered away from her and, turning, crouched to spring.

For a second they were opposite each other, glaring and panting. The noise was loud now; it came from the top of the shaft, a combination of familiar sounds so inappropriate to this struggle that Adelia paid them no mind.

But they meant something to the Beast; its eyes changed; she saw a dulling; the alert joy of the kill went from them. The thing was still a beast with teeth exposed, but its head was up, sniffing, considering; it was scared.

Dear God, she thought, and was afraid to think, that’s what it is; beautiful, oh beautiful, the blow of a horn and the belling of hounds.

The hunt had come for Rakshasa.

Her lips split into a grin as bestial as his. “Now you die,” she said.

A shout came down the shaft. “Halloooo.” Beautiful, oh beautiful. It was Rowley’s voice. And Rowley’s big feet coming down the ladder.

The thing’s eyes were everywhere, looking frantically for the knife. Adelia saw it first. “No.” She fell on it, covering it. You shan’t have it.

Rowley, sword in hand, was nearing the bottom of the ladder, obstructed in getting off it by the bodies of Ulf and Veronica.

From the floor, Adelia reached to grip Rakshasa’s heel as it went past, but her fingers slipped on its grease. Rowley was kicking the nun and boy out of his way. Adelia’s view of Rakshasa’s legs and buttocks as he sprinted for the big tunnel was blocked by Rowley’s sprinting after him. She saw Rowley fall, flailing, as he tripped over the shield; she heard him curse-and then he was gone.

She sat and looked up. The baying of hounds was loud now; she could see snouts and teeth poking round the head of the shaft. The ladder was shaking; somebody else was clambering onto it, ready to come down.

There was nowhere in her body that didn’t hurt. To collapse would be nice, but she dare not do it yet. It wasn’t over-the knife had gone.

And so had Veronica and the child.

Rowley came rushing out of the tunnel, kicking the shield out of the way so that it skidded and hit the anvil. He grabbed a flambeau from the wall and disappeared with it into the tunnel again.

She was in darkness; the other torch was gone. A flicker of light showed her a puff of chalk dust and the hem of a black habit disappearing into the tunnel Ulf had come out of.

Adelia crawled after it. No. No, not now. We’re rescued. Give him to me.

It was a wormhole, an exploratory dig that had not been worked because the flare of Veronica’s torch when it came showed a gnarled, glistening line of flint running along it like a dado. The tunnel turned with the seam, cutting her off from the light ahead, and she was in a blackness so deep she might have gone blind. She went on.

No. Not now. Now we’re rescued.

It was lopsided crawling; her left arm was weakening where Rakshasa had stabbed it. Tired, so tired. Tired of being frightened. No time to be tired, no. Not now. Nodules of chalk crumbled under her right hand as her palm pressed her forward. I shall have him from you. Give him to me.

She came on them in a tiny chamber, huddled together like a couple of rabbits, Ulf limp in the nun’s grasp, his eyes closed. Sister Veronica held the torch high in one hand; the other, around the child, had the knife.

The nun’s lovely eyes were thoughtful. She was reasonable, though dribble emerged from the corner of her mouth. “We must protect him,” she told Adelia. “The Beast shall not have this one.”

“He won’t,” Adelia said, carefully. “He’s gone, Sister. He will be hunted down. Give me the knife now.”

Some rags lay next to an iron post planted deep in the ground with a dog lead trailing from it, the collar just big enough for a child’s neck. They were in Rakshasa’s larder.

Circular walls were turned red by the flickering torchlight. The drawings on them wriggled. Adelia, who daren’t take her eyes away from those of the nun, would not have looked at them in any case; in this obscenity of a womb, the embryos had waited not to be born but to die.

Veronica said, “Whoso shall offend one of these little ones, it were better for him that a millstone be hanged about his neck.”

“Yes, Sister,” Adelia said, “it would be.” She crawled forward and took the knife out of the nun’s hand.

Between them, they dragged Ulf through the wormhole. As they came out, they saw Hugh the hunter looking around him like a dazed thing with a lantern in his hand. Rowley emerged from the other tunnel. He was swearing and frantic. “I lost him; there’s dozens of bloody tunnels along there, and my bloody torch went out. The bastard knows his way, I don’t.” He turned on Adelia as if he was furious with her-he was furious with her. “Is there another shaft somewhere?” As an afterthought, he asked, “Are you women hurt? How’s the boy?”

He urged them up the ladder, tucking Ulf under his arm.

For Adelia the climb was interminable, each rung an achievement gained through pain and a faintness that would have toppled her to the bottom again if she’d not had Hugh’s hand supporting her back. Her arm stung where the creature had stabbed it, and she became concerned that it might be poisoned. How ridiculous to die now. Put brandy on it , she kept thinking, or sphagnum moss would do; mustn’t die now, not when we’ve won.

And as her head reached above the shaft and air touched it… We have won. Simon, Simon, we’ve won.

Clinging to the top rung, she looked down toward Rowley. “Now they’ll know the Jews didn’t do it.”

“They will,” he said. “Get on.” Veronica was clinging to him, crying and gabbling. Adelia, struggling to get off the ladder, was nosed by hounds, their tails in frantic motion as if with pleasure at a job well done. Hugh called to them, and they backed away. When Rowley emerged, Adelia said, “You tell them. Tell them the Jews didn’t do it.”

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