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 hurried to Sister Walburga, who’d staggered and fallen, clawing for air. She knelt, her hand tight round the nun’s mouth. “Slowly now. Breathe slowly. Little breaths, shallow.”

She heard Henry say, “Well, my lords? It appears she gave the devil every cooperation.”

Apart from Walburga’s panicking breath, the room was quiet.

After a while, somebody, one of the bishops, spoke: “She will be tried in ecclesiastical court, of course.”

“Given benefit of clergy, you mean,” the king said.

“She is still ours, my lord.”

“And what will you do with her? The Church cannot hang; it can’t shed blood. All your court can do is excommunicate her and send her out into the lay world. What happens the next time a killer whistles for her?”

“Plantagenet, beware.” It was the archdeacon. “Would you yet wrangle with holy Saint Thomas? Is he to die again at the hands of your knights? Would you dispute his own words? ‘The clergy have Christ alone as king and under the King of Heaven; they should be ruled by their own law.’ Bell, book, and candle are the greatest coercion of all; this wretched woman shall lose her soul.”

Here was the voice that had echoed through a cathedral with an archbishop’s blood on its steps. It echoed through a provincial refectory where the blood of a piglet soaked into the tiles.

“She’s already lost her soul. Is England to lose more children?” Here was the other voice, the one that had used secular reason against Becket. It was still reasonable.

Then it wasn’t. Henry was taking one of the men-at-arms by the shoulders and shaking him. He moved on to shake the rabbi, then Hugh. “Do you see? Do you see? This was the quarrel between Becket and me. Have your courts, I said, but hand the guilty over to mine for punishment.” Men were being hurled around the room like rats. “I lost. I lost, d’you see? Murderers and rapists are loose in my land because I lost .”

Hubert Walter was clinging to one of his arms, pleading and being dragged along. “My lord, my lord…remember, I beg you, remember.”

Henry shook him off, stared down at him. “I won’t have it, Hubert.” He dragged his hand across his mouth to wipe away the spittle. “You hear me, my lords? I won’t have it.

He was calmer now, facing the trembling judges. “Try it, condemn it, take its soul away, but I will not have that creature’s breath polluting my realm. Send it back to Thuringia, to the far Indies, anywhere, but I will lose no more children, and by my soul’s salvation, if that thing is still breathing Plantagenet air in two days’ time, I shall proclaim to the world what the Church has loosed on it. And you, madam…”

It was Prioress Joan’s turn. The king pulled her head up from the table by her veil, dislodging the wimple to show wiry, gray hair. “And you…If you’d controlled your sisterhood with half the discipline you apply to your hounds…She goes, do you understand? She goes or I tear down your convent stone by stone with you in it. Now leave this place and take that stinking maggot with you.”

IT WAS A RAGGED DEPARTURE. Prior Geoffrey stood at the door, looking old and unwell. Rain had stopped, but the chilly, moist dawn air raised a ground mist and the hooded, cloaked figures mounting their horses or getting into palanquins were difficult to distinguish. Quiet, though, except for the strike of hooves on cobbles and the huff from horses’ nostrils and the singing of an early thrush and the crow of a cockerel from a hen run. Nobody spoke. Sleepwalkers, all of them, souls in limbo.

Only the king’s departure had been noisy, a rush of boar hounds and riders galloping toward the gates and open country.

Adelia thought she saw two veiled figures being escorted away by men-at-arms. Perhaps the hatted, bowed shape plodding on a solitary course toward the castle was the rabbi. Only Mansur was here beside her, God bless him.

She went and put her arm around Walburga, who had been forgotten. Then she waited for Rowley Picot. And waited.

Either he wasn’t coming or he had already gone. Ah, well…

“It seems we must walk,” she said. “Are you well enough?” She was concerned for Walburga; the girl’s pulse had been alarming after she’d seen what she should never have seen in the kitchen.

The nun nodded.

Together they ambled through the mist, Mansur striding beside them. Twice Adelia turned to look for the Safeguard; twice she remembered. When she turned for a third time…“Oh no, dear God, no .”

“What is it?” Mansur asked.

It was Rakshasa walking behind them, his feet hidden in the mist.

Mansur drew his dagger, then half-replaced it. “It’s the other. Stay here.”

Still gasping with shock, Adelia watched him go forward to speak to Gervase of Coton, whose figure so much resembled that of a dead man, a Gervase who now seemed reduced and oddly diffident. He and the Arab strolled farther along the track and were lost to view. Their voices were a mumble. Mansur’s English had improved these last weeks.

He came back alone. The three of them walked on together. “We send him a pot of snakeweed,” Mansur said.

“Why?” Then, because everything normal had been cast adrift, Adelia grinned. “He’s…Mansur, has he got the pox?”

“Other doctors have been of no help to him. The poor man has attempted these many days to consult me. He says he has watched the Jew’s house for my return.”

“I saw him. He scared the wits from me. I’ll give him bloody snakeweed, I’ll put pepper in it, I’ll teach him to lurk on riverbanks. Him and his pox.”

“You will be a doctor,” Mansur reproved her. “He is a worried man, frightened of what his wife will say, Allah pity him.”

“Then he should have been faithful to her,” Adelia said. “Oh, tut, it’ll go in time if it’s gonorrhea.” She was still grinning. “But don’t tell him that.”

It was lighter when they gained the gates toward the town, and they could see the Great Bridge. A flock of sheep was trotting over it, making for the shambles. Some students were stumbling home after a hard night out.

Puffing, Walburga said suddenly in disbelief, “But she were the best of us, the holiest. I admired her, she were so good.”

“She had a madness,” Adelia said. “There’s no accounting for that.”

“Where’d it come from?”

“I don’t know.” Always there, perhaps. Stifled. Doomed to chastity and obedience at the age of three. A chance meeting with a man who overpowered-Rowley had talked of Rakshasa’s attraction for women. “The Lord only knows why; he doesn’t treat them well.” Had that coition of frenzy released the nun’s derangement? Maybe, maybe. “I don’t know,” Adelia said again. “Take shallow breaths. Slowly, now.”

A horseman cantered up as they arrived at the foot of the bridge. Sir Rowley Picot looked down at Adelia. “Am I to be given an explanation, mistress?”

“I explained to Prior Geoffrey. I am grateful and honored by your proposal…” Oh, this was no good. “Rowley, I would have married you, nobody else, ever, ever. But…”

“Did I not fuck you nicely this morning?”

He was deliberately speaking English, and Adelia felt the nun beside her flinch at his use of the old Anglo-Saxon word. “You did,” she said.

“I rescued you. I saved you from that monster.”

“You did that, too.”

But it had been the jumble of powers she and Simon of Naples possessed between them that had led to the discovery on Wandlebury Hill, despite her own misjudgment in going there alone.

Those same powers had led to the saving of Ulf. It had liberated the Jews. Though it had been mentioned by none except the king, their investigation had been a craft of logic and cold reason and…oh, very well, instinct, but instinct based on knowledge; rare skills in this credulous age, too rare to be drowned as Simon’s had been drowned, too valuable to be buried, as hers would be buried in marriage.

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