Our heroine, the Nun (aka Catherine), stumbles into the death of a stone-cutter during the building of the Abbot Suger's cathedral in Medieval France. With the aid of an itinerant, Anglo-Saxon stonecutter/student/?, with whom the Nun surprisingly develops a relationship - I am being sarcastic here - Catherine sets out to solve the mystery - and, oh yeah, to discover the whereabouts and condition of a stolen psalter. Along the way she encounters the usual "colorful" characters. The chief conceit of this novel is the relationship and intellects of Abelard and Heloise. We, the readers, are supposed to believe that the Nun is smart and capable of solving mysteries somehow because the combined intellects of the tragic twosome has rubbed off on her. (Were Abelard and Heloise renowned as sleuths?) The problem is that the Nun is quite unconvincing as a detective. Indeed, most of the novel has her careening from one situation and revelation to another quite as! if she hasn't a clue. And she gets to go lots of extraordinary places quite without trouble - as we know young nuns did in the Middle Ages. In one instance, she finds herself alone in the hut and nearly in the clutches of a randy satanist! Shades of Harlequin romance! This is not a good mystery - nor is it a good read. The author seems intent on packing the odyssey of a young woman, whom she makes into a nun, with "color" without any real attention being paid to character and plot-development. But then again the "color" is not well-researched and we get modern impressions anachronized more than we get a sense of Medieval France. The author would do well to observe the ingredients of a Falconer or a Brother Caedfael, or perhaps, most pertinent of all, Peter Tremayne's Sister Fidelma. Context is good, but first come plot and characters. A half developed journey through the darkness of the Dark Ages framed by modern sensibilities just won't do. ! (Dr. Quinn in Cluny?) Very much not recommended.