Product Description

A chilling, mesmerizing novel that combines the best of modern forensic thrillers with the detail and drama of historical fiction.

In medieval Cambridge, England, four children have been murdered. The crimes are immediately blamed on the town's Jewish community, taken as evidence that Jews sacrifice Christian children in blasphemous ceremonies. To save them from the rioting mob, the king places the Cambridge Jews under his protection and hides them in a castle fortress. King Henry I is no friend of the Jews-or anyone, really-but he is invested in their fate. Without the taxes received from Jewish merchants, his treasuries would go bankrupt. Hoping scientific investigation will exonerate the Jews, Henry calls on his cousin the King of Sicily-whose subjects include the best medical experts in Europe-and asks for his finest "master of the art of death," an early version of the medical examiner. The Italian doctor chosen for the task is a young prodigy from the University of Salerno. But her name is Adelia-the king has been sent a mistress of the art of death.

Adelia and her companions-Simon, a Jew, and Mansur, a Moor-travel to England to unravel the mystery of the Cambridge murders, which turn out to be the work of a serial killer, most likely one who has been on Crusade with the king. In a backward and superstitious country like England, Adelia must conceal her true identity as a doctor in order to avoid accusations of witchcraft. Along the way, she is assisted by Sir Rowley Picot, one of the king's tax collectors, a man with a personal stake in the investigation. Rowley may be a needed friend, or the fiend for whom they are searching. As Adelia's investigation takes her into Cambridge's shadowy river paths and behind the closed doors of its churches and nunneries, the hunt intensifies and the killer prepares to strike again . .

Product Details

• Amazon Sales Rank: #332287 in Books
• Published on: 2007-02-06
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 400 pages

From Publishers Weekly
Had Ellis Peters's Brother Cadfael been born a few decades later, he might have found a worthy associate and friend in Dr. Vesuvia Adelia Rachel Ortese Aguilar of Salerno, a short and short-tempered medieval coroner hired in secret by King Henry II to find out who's behind the horrific murders of Christian children in Cambridge, England. Prominent local Jews stand accused; Henry wants them freed, mostly for the sake of their tax revenue. As Adelia examines the children's bodies and gets to know the people of Cambridge, she has no trouble assembling a long list of suspects, but she encounters considerable difficulty trying to narrow it down, a struggle in which the reader gladly joins her. Not all of the plot twists are surprising and the romantic subplot is an unnecessary afterthought, but Franklin (City of Shadows) has developed a skillful blend of historical fact and gruesome fiction that's more than sufficient to keep readers interested and entertained. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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."

Copyright 2007, The Washington Post. All Rights Reserved.

From Bookmarks Magazine
In this historical crime thriller, Ariana Franklin (the nom de plume for British writer Diana Norman) introduces the compelling Adelia—abandoned as a child, adopted by doctors, trained in Salerno (a center of learning), and now a woman of modern sensibilities. Critics agree that Mistress is an unusually smart and intriguing story. Franklin perfectly recreates the barbarous culture of the Middle Ages and the Crusades—an era of religious persecution and idealism that clashed with the burgeoning importance of science and the rule of law. Grisly forensic details, combined with whodunit suspense, fascinating characters, timely themes, and even a little romance make for an excellent read. Watch out for Adelia's return in next year's The Serpent's Tale.
Copyright © 2004 Phillips & Nelson Media, Inc.

Customer Reviews

Anachronisms Be Damned
I have a thorough dislike of sloppy anachronisms. In fact, I have been known to fume for chapters and write scathing things about sloppy research when I encounter anachronisms. I knew going into reading this book that there were a few howlers. Cholera in 12th century England anyone? A room lined with books in the age of Henry II? A body farm in Salerno? I have to admit that the Author's note at the end helped reconcile me a bit when I started thinking about some of the things in the book that are improbable to say the least.

However, I have to say that this story grabbed me by the arm and dragged me in and would not let me go until the last page. And the author really did use Henry II as an effective character and an important object lesson. Who does remember a Henry aside from his domestic imbolgios and his fight with Thomas a Becket? Eleanor of Aquitaine had much better press.

And whether or not the romance was an afterthought to please an editor as suggested by another reviewer-- I think it was intrinsic given the role it plays in the development of various stings of the plot-- there is much about it to make genre romance fans weep and gnash their teeth.

For the interesting characters, for the different view of the 12th century, for lots of good reasons, pick this book up.

A little investigation turns up that this is a pseudonym for Diana Norman. I'm going to pick up a few of her other historical novels under that name.

A Historical Murder Mystery with an Unlikely Romance
In Medieval Europe, a woman educated in the Art of Death in the famous school of medicine in Salerno, is sent to investigate a murder mystery. Accompanied by the renown mediator Simon of Naples and her eunuch manservant, Mansur, Adelia -- the Mistress of the Art of Death -- ventures into Cambridge to find the murderer. By chance, she arrives to find the Prior of the town ill -- unable to piss. Though she knows how to treat his infection, being a woman, she must perform the operation in secret to avoid charges of witchcraft. Thus, despite her formidable knowledge in forensic pathology, to the people of Cambridge, she must pose as an assistant to her manservant, who must pretend to be the doctor in charge. Saving the Prior, she gains a friend of power in town, who helps them in their mission.

Ariana Franklin's delightful humor is present throughout the piece -- even in the story's most dire moment, when Adelia is bound and trapped within breathing range of Death itself. Her characters have complex backgrounds that shed light on their present relations and actions -- the Prior's relationship with the housekeeper he hires for Adelia, and King Henry II has his own personal motivation for summoning these foreign specialists. Interestingly, the backstory comes neatly into play in the end: swoopingly, when King Henry arrives to see to matters himself, and subtly, when Adelia's housekeeper secretly passes on her relationship and the prior to Adelia and her love.

Franklin develops a tumultuous romance between Adelia and the famous Sir Rowley Picot -- both characters of importance, and equally stubborn in nature. Marriage, in those times as now, required an act of submission, which would not suit Adelia's personage. Yet -- after those involved in the murders have been dealt with and the truth made known to the public -- Franklin does take care to let Adelia live happilly ever after with her man, but with her own solution...

Questionable Historical Information and Attitudes But a Good Mystery
In 12th Century Cambridge, children are dissapearing and turning up dead...with horribly mutilated bodies. Immediately the zealous Christians suspect the jews and a they attack the local jewery. For their own safety the Jews are kept in the castle away from danger. But they can't work and no income for them means no income for the King. So King Henry sends for the medieval equivalent of today's coroner from a top medical school in Salerno italy, a Master of the Art of Death.

Instead, he gets Adelia, a Mistress of the Art of Death, who is accompanied by Simon, the Jewish investigatory, and Mansur, a large Muslim eunuch who is Adelia's bodyguard. In the hysterical and superstitious climate of Cambridge, and in order to avoid a charge of witchcraft, Mansur poses as the doctor and Adelia his assisant. All three begin the difficult task of examining the childrens bodies, gathering the clues, and searching for the killer.

This book is sort of a cross between CSI and Silence of the lambs. The actual mystery is interesting and kept my attention but I kept getting pulled out of the book by dialogue or some historical fact that just didn't seem right. The characters, esp. Adelia, all have very modern attitudes and just weren't believable. Additionally the story went on way too long after the killer is revealed.

I liked the author's writing style though and it was infused with a lot of dry humor which I enjoyed. So ultimately although I did have issues with certain aspects of the book, they weren't so bad that I regret reading it. If you can over look the modern attitudes and anachronisms and just read it for the story itself I think you'll really like it.