Mistress of the Art of Death (2007), Ariana Franklin (Diana Norman)

artdeath

 

Quickly she knelt and asked the dead beyond the door to forgive her for handling their remains. She asked to be reminded not to forget the respect she owed them. “Permit your flesh and bone to tell me what your voices cannot.”

 

It is the year 1170. The city of Cambridge is tense. Four young children have been tortured to death. The people of the town have accused the Jewish community of blood libel and the perpetrators of the murders, causing them to flee their homes for protection in the castle. Henry II is angry and concerned. Imprisoned, the Jews are unable to pay the heavy taxes by which the king finances his realm. Henry does not believe the murders are the work of the Jews and must find a way to exonerate them. Henry writes to his cousin, the King of Sicily, who presides over the world renowned medical school in Salerno asking him to send his best “investigator of death.”

Vesuvia Adelia Rachel Ortese Aguilar is the Mistress of the Art of Death, a combination modern day coroner and police detective. When she arrives with her Arab assistant Mansur and fellow investigator Simon of Naples, a Jew she must hide her true vocation. Though the cultural, religious and gender diversity of Salerno allows women in the medical college, Adelia’s specialty conflicts with the Church’s teachings on both women and dissection, so she is used to passing off her findings to her foster father. While in England Mansur becomes the doctor and she his assistant. At least at the beginning. From enlightened city to crude backwater, the trio of friends reluctantly make the journey. The moment they arrive in Cambridge, however, they are besieged with a multitude of illnesses and accidents untreatable before now. But the bodies of the children need to be examined and with some restrictions on her gender, the investigation begins.

The stabbing around the pelvis had left distinctive marks; she had seen knife wounds before, but none like these. The blade of the instrument that had caused them appeared to be much faceted. She would have liked to remove the pelvis for leisurely examination in better light, but she had promised Prior Geoffrey to do no dissection.

It is fascinating to watch how Adelia studies the bodies of the children and how she deduces their killers. It is like watching a Medieval version of a CSI episode. Body by body and clue by clue culminating in a frightful incident where Adelia almost meets her own end. But she succeeds in discovering the culprits responsible.

I was incredibly drawn to this story as it ticked many of the boxes I enjoyed studying in college. As the ‘king’s persons” Jews were England’s bank account being taxed to unbelievable degrees financing everything from the building of castles and cathedrals, the bankrolling of crusades to the general running of the realm. Thus, the king’s castle was their safety zone when attacked. They were an easy target when anything abnormal occurred. Leaving their homes and fleeing to the castle for the protection of the king was often a precarious situation. As illustrated in this story, anti-Jewish sentiment is so high with the townspeople, even when it is pointed out the Jews have been in the castle for a year and children have been killed during this time. The townspeople cook up an elaborate fantasy that the Jews leave by night and return to the castle early in the morning to commit the crimes. Never mind there are townspeople stationed at every entrance day and night which would make escape impossible.

Franklin also describes the diversity of students and teachers that peopled the medical school of Salerno, which included Arabs, Jews, Africans and others from across Europe, as well as women. The medical training here surpassed the other schools on the continent. Adelia, who was orphaned and fostered by a couple from the medical school, acknowledged her intellect from a young age and encouraged her studies. Adelia’s skills come from her training and investigative experience, which included time spent at the pig farm, a medieval version of the modern-day body farm.

Adelia was forcing herself to see a pig [not a child]. Pigs were what she’d learned on. Pigs—the nearest approximation in the animal world to human flesh and bone. Up in the hills behind a high wall, Gordinus had kept dead pigs for his students, some buried, some exposed to the air, some in a wooden hut, others in a stone byre…Most of the students introduced to the his death farm had been revolted by the flies and stench and had fallen away; only Adelia saw the wonder of the process that reduced a cadaver to nothing.

One of the strengths of this historically dense novel is constructing a story with a protagonist who is foreign and unfamiliar with the culture in which she is thrust. The reader learns along with Adelia, Mansur and Simon, so prior knowledge of the period is unnecessary and Franklin’s narrative makes it easy to follow the story. And to further this point, Franklin uses the British to further our knowledge. Though most of the townspeople are portrayed as suspicious and ignorant of foreigners, the novel opens with a band of pilgrims and crusaders having just returned from the Holy Land. Several of the knights are familiar with the customs and culture of both the Arab and Jewish worlds and of Europeans in general. Franklin uses their knowledge in usually positive, but sometimes humorous ways to make points about the cultural and dietary habits of Mansur, Simon and Adelia.

A Personal Observation

I have missed out on many richly drawn historical novels. Early in Medieval studies it was drummed into our heads that we couldn’t take fictionalized accounts of historical events seriously and were discouraged from books and other historical “reconstructions.” “This could never have happened.” “That is just historically inaccurate.” I can remember classmates mocked for their interest in the King Arthur mythos or those students who participated in the activities of the Society for Creative Anachronism. The only contemporary Medieval fiction we were encouraged to read was Josephine Tey’s, The Daughter of Time, because it was about research. It has taken me a long time to reject those voices critical of historical fiction. And that’s too bad. I have a lot of catching up to do.

In this regard, if those professors of mine were still alive I would make them read this book! While obviously some license has to be taken in the way a story like this is told in order for a modern person to understand it, historical accuracy does not have to suffer.

The novel is a page turner, a fascinating mystery and manages to dispel ignorance about the Middle Ages many people may have.

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Challenges: RIPXIII, RBRTBR

 

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8 thoughts on “Mistress of the Art of Death (2007), Ariana Franklin (Diana Norman)

  1. Nice review. I also had it drummed into my head not to read historical fiction. Why read fiction when you can do research and read the real thing, right? So limiting! Glad we’ve both overcome that.

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