
Grave Goods
By Ariana Franklin
Publisher: Berkley
ISBN: 978-0-425-23233-0
Paperback, 334 pages
Language: English
Price: $15
Buy it here: Amazon
Any book about a woman called “The Mistress of the Art of Death” that is neither about bondage nor vampires, but still manages to make the sixteenth century simultaneously sexy and terrifying, is worth a second look.
Take my word for it that Franklin’s heroine (the aforementioned Mistress) is both brilliant and compelling, and Franklin herself is one hell of a researcher.
You could waste time on hack fantasy and hope that the author worked something interesting in between the knights and the bandits and the occasional murder… or you could read this book. What you get in the bargain is fantastic fiction, characters with staying power (the main cast carries the plot through this, the third in the series).
You might even learn something abut history along the way.
The Mistress
Meet Adelia Aguilar, a woman trained in the forbidden medical arts. She’s a doctor, and a specialist in forensics, and has been retained by King Henry II to provide counsel in such matters. In this particular adventure, Adelia and her family (a nurse, her daughter, and Mansur, her friend and childhood protector) travel to Glastonbury Abbey to prove — or disprove — the identity of a set of bones, which are suspected of being the remains of King Arthur and Guinevere.
To do this, she maintains the cover that has allowed them to live in relative safety in a Britain that would never accept a woman who practices medicine: that Mansur is the Muslim doctor, the Saracen skilled in medicine, and that she, Adelia, is his assistant and interpreter.
Invariably, in investigating these deaths, they become involved in further murder, betrayal, secrets and danger.
Love and Sin and Medicine
There’s a lot of sin happening in the Abbey and the surrounding environs. Possibly one of the most endearing characters is Adelia’s lover and father of her child, the Bishop of St. Albans, assigned (to their mutual frustration) by Henry II to a life dedicated to the Church and his service. Henry is forever in the middle of their lives; his character gives a completely new framework to the perception of Henry as little more than the man who killed Thomas Beckett (or so history has remembered him, despite the reality of the situation, but I digress).
Between them, they create some of the most memorable cast of characters I’ve fallen in love with, wanted to strangle, and followed with great interest throughout the series.
And, as usual, the woman can’t get through a book without doing something (or a few somethings) that nearly get her killed.
Bones Talk
Adelia gets bones to talk. History and death make natural companions. However, don’t expect rich forensic detail in these books, because, quite frankly, it wouldn’t make a believable premise. How much did even the best-trained doctor know about dating bones and analyzing soil samples? Answer: not much, and he’s the father who taught Adelia everything she knows (back in Salerno). This book is less about the secrets of the grave than it is about the people who live around the grave, and what their secrets are.
And that, in a nutshell, is the crux of this book.
It’s a no-brainer lead-in to another book about the Mistress of the Art of Death and her next investigation.
While the blood, death and violence of this book kept me intrigued, it was the relationships and the character development that kept me turning pages well into the small hours.
-Kim Morgan



