THE ABBOT’S GIBBET by
Michael Jecks, of the Knights Templar series, finds a setting in the
year 1319. This is where Jecks’ enduring
characters Sir Baldwin Furnshill, a former member of the Knights
Templar, and Simon Puttock, bailiff of Lydford are traveling to the
annual Tavistock fair. Simon’s wife Margaret is
looking to buy cloth, while Simon is hoping to add to the collection of
plates he will need to entertain guests at Lydford. Baldwin is merely along for the
ride to Tavistock, the fair that draws merchants from all over England, filling the stalls to sell
their goods.
One such
merchant is Arthur Pope. He has rented a house
for his wife Marion and his daughter Avice to reside with him in for
the duration of s business. He fails to
anticipate the two Venetians they meet along the road, Antonio and
Pietro Cammino, a father and son who are heading in the same direction,
yet with very different business interests. The two are looking to meet
with Abbot Robert Champeaux, who has brought prosperity to the abbey in
Tavistock through his own business dealings.
In Tavistock,
all parties on their way to the fair will encounter the port-reeve
David Holcroft, the man in charge of law and order during the fair. He is eager for his tenure as port-reeve to expire
so as to return to the private life of the average citizen. He pines away for Lizzie, the prostitute who favors
men like Roger Torre, while seemingly disfavoring him.
He finds her in the company of the cook Elias,
whom he warns with fines if the trash heap outside his residence is not
removed in time for the opening day of the fair.
Elias makes
the attempt to get rid of the trash, as he knows the fines are a cost
he cannot afford, but he runs out of strength, as well as time, and the
next day a dead body, absent its head, is found poorly buried
underneath what remained of Elias’ refuse.
With the reputation Baldwin has gained for his
investigative skills, Abbot Champeaux (as best as I can
surmise, a governor of sorts) knows not what else to do but ask the
man to investigate this sad turn of events. The
fair cannot be ruined by a murderer threatening peoples’ safety. Baldwin leaps at the challenge (shopping at the fair was not an appealing prospect) and
though he has met a widow, Jeanne, to whom he has taken a fancy, his
efforts are expended on the investigation: why was this man killed; how
was it done; who was the culprit, and who precisely was the victim?
Was it the
stranger seen talking with Elias in the tavern the night before? The clothes found upon the body are the same
witnessed upon the man. If so, where was Elias? How was he to account for his actions?
What of the Venetians who traipsed into town? Were
they all they appeared to be? Pietro was taken
with Avice Pole since the moment he and his father came upon the Poles
along the road. Was that a good thing? What of the young monk Peter? What
of the friar Hugo? He preaches against the
avarice inspired by such acquisition of profit the fair inspires. Does anyone listen?
Mystery
lovers who are unfamiliar with Michael Jecks will become fans after
reading THE ABBOT’S GIBBET. He sets up that
particular element of the book very well, bringing into the setting of
the Tavistock Fair a multitude of characters with a myriad of
possibilities as to the nature of this grizzly crime. The
mystery aspect is superb. It will not leave any
reader unfulfilled.
Unfortunately,
I did experience dismay in two other areas crucial to a complete
book-reading experience: the characterizations were merely
satisfactory, while the setting was completely anomalous.
I never managed a picture of
these characters. The setting never
materialized for me. I could never see the England of 1319 in which these
characters lived. The smells, the sounds, the
very character of the roads, the abbey, the fair – all of it required,
for me, and imagination that had very little knowledge from which to
draw. THE ABBOT’S GIBBET was a great story,
told with old paint, by average actors. I
enjoyed the read, but I wanted to experience, as well, the environment.
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