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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Which lady eremite, Adelia wondered, and why should she not be hauled before this court to be asked how many nights she and the frail Veronica have spent in contemplation?

None, I’ll warrant.

But it was useless; the anchorite, being an anchorite, would not come. Demanding that she attend could only confirm Adelia’s stridency as opposed to Veronica’s respectful silence.

Where are you, Rowley? I cannot stand here alone. Rowley, they’re going to let her go.

The dismemberment went on. Who had seen Simon of Naples die? Had not the inquest confirmed that the Jew drowned accidentally?

The walls of the great room were closing in. A bailiff studied the manacles he carried as if to judge them small enough for Adelia’s wrists. Above her head, the gargoyles gibbered in glee and the eyes of the judges stripped the skin off her.

Now the archdeacon was questioning her motive in going to Wandlebury Hill at all. “What led her to that infamous place, my lords? How did she know what went on there? Can we not assume that it was she who was in league with the devil of Grantchester, and not the holy sister she accuses-whose only crime, it seems, was to follow her out of concern for her safety?”

Prior Geoffrey opened his mouth but was forestalled by the clerk Hubert Walter, still amused. “I think we must accept, my lords, that all four children died before this female set foot in England. We may at least acquit her of their murder.”

“Really?” The archdeacon was disappointed. “Nevertheless, we have proved her a slanderer and, by her own statement, she had knowledge of the pit and its circumstances. I find that curious, my lords. I find it suspicious.”

“So do I.” The Bishop of Norwich broke in, yawning. “Take the damned female to the whipping post and be done with it.”

“Is that the verdict of you all?”

It was.

Adelia shouted, not for herself but for Cambridgeshire’s children. “Don’t let her go, I beg you. She can kill again.”

The judges weren’t listening, not looking at her-their attention had been claimed by somebody who’d entered the refectory from the kitchen, where he’d taken himself a bowl of bacon broth and was now eating it.

He blinked at the assembly. “A trial, is it?”

Adelia waited for this plainly dressed man in leather to be blasted back to where he came from. A couple of boar hounds had slouched in with him-a hunter, then, who’d wandered here by mistake.

But the lord judges were standing. Were bowing. Were remaining on their feet.

Henry Plantagenet, King of England, Duke of Normandy and Aquitaine, Count of Anjou, hoisted himself up on the refectory table, letting his legs dangle, and looked around. “Well?”

“Not a trial, my lord.” The Bishop of Norwich was as awake and fluttering as a lark now. “A convocation, merely a preliminary inquiry into the matter of the town’s murdered children. The killer has been identified, but that ”-he pointed in the direction of Adelia-“that female has brought an accusation of complicity against this nun of Saint Radegund.”

“Ah, yes,” the king said, pleasantly, “I thought our lords spiritual were somewhat overrepresented. Where’s De Luci? De Glanville? The lords temporal?”

“We did not wish to disturb their rest, my lord.”

“Very thoughtful,” Henry said, still pleasant though the bishop quailed. “And how are we getting on?”

Hubert Walter had left his place to stand by the king, holding out his parchment.

Henry took it, putting down his bowl of broth. “I hope nobody minds if I make myself familiar with the case-it’s been causing me some trouble, you see; my Cambridge Jews have been incarcerated in the castle tower because of it.”

He added mildly enough, but, again, the judges shifted in discomfort, “And I’ve lost revenue accordingly.”

Scanning the parchment, he leaned down and took a handful of rushes from the floor. There was silence as he read, except for the beat of rain against the high windows and a contented gnawing from one of the dogs, who’d found a bone under the table.

Adelia’s legs were trembling so much that she didn’t know whether they’d hold her up; this plain, casual-seeming man had brought a directionless terror into the refectory.

He began murmuring, holding the parchment to a candelabra on the table in order to see it better. “Boy says abducted by the nun…not recognizable in law… hmm .” He put one of the rushes he was holding down beside the light. Absently, he said, “Splendid broth, Prior.”

“Thank you, my lord.”

“The nun’s knowledge and use of the river”-another rush was laid beside the first-“An opiate…” This time, the rush was put across the top of the other two. “All-night vigils with an anchorite…” He looked up. “Has the anchorite been called to witness? Oh, no, I forgot-this is not a trial.”

Adelia’s legs became weaker, this time with a hope so tenuous she hardly dared entertain it. Henry Plantagenet’s rushes, neatly crisscrossed as if he were going to play spillikin with them, were multiplying with each piece of evidence she’d brought against Veronica.

“Simon of Naples…drowned whilst in possession of tallies…the river again…a Jew, of course, well, what can you expect…” Henry shook his head at the carelessness of Jews and read on.

“The laywoman’s suspicions…Wand-le-bury Hill…maintains she was thrown down a pit…didn’t see who…tussles…laywoman and nun…both injured…child rescued…local knight responsible…”

He looked up, then down at the pile of rushes, then at the judges.

The Bishop of Norwich cleared his throat. “As you see, my lord, all the charges against Sister Veronica are unsubstantiated. Nobody can incriminate her because…”

“Except the boy, of course,” Henry interrupted, “but we can’t give any legal weight to him, can we? No, I agree…all circumstantial.”

He looked once more at his rushes. “Hell of a lot of circumstance, mind you, but…” The king puffed out his cheeks, blew hard, and the rushes scattered. “So what did you decide to do about this slanderous lady…what’s her name? Adele? Your handwriting is pitiable, Hubert.”

“I apologize, my lord. She is called Adelia.”

The archdeacon was becoming restive. “It is unpardonable that she should level calumnies such as these against a religious; it cannot be overlooked.”

“It certainly can’t,” Henry agreed. “Should we hang her, do you think?”

The archdeacon battled on. “The woman is a foreigner; she has come from nowhere in company with a Jew and a Saracen. Is she to be allowed to slander Holy Mother Church? By what right? Who sent her and why? To sow discord? I say the devil has put her amongst us.”

“It was me, really,” the king said.

The room was silenced as if an avalanche of snow had muffled it. From the door behind the judges came the sound of shuffling, splashing feet as Barnwell’s canons groped their way through the rain along the cloister to church.

Henry looked at Adelia for the first time and exposed his ferocious little teeth in a grin. “Didn’t know that, did you?”

He turned on the judges, who, not having been invited to sit, were still standing. “You see, my lords, children were disappearing in Cambridge and so were my revenues. Jews in the tower. Trouble in the streets. As I said to Aaron of Lincoln-you know him, Bishop; he lent you money for your cathedral-Aaron, I said, something must be done about Cambridge. If the Jews are slaughtering infants for their rituals, we must hang them. If not, somebody else must hang. Which reminds me…” He raised his voice. “Come in, Rabbi, I’m told this is not a trial.”

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