The Familiar by Leigh Bardugo: A Much Anticipated Review

The Familiar by Leigh Bardugo was one the most anticipated books of the year for me, for two primary reasons. Firstly, Leigh Bardugo is one of those rare authors who have earned the kind of trust from me that I will read whatever they write, regardless of what it is. I have read all of her books and she has never failed me—I know I’m in good, fun hands if I pick up a Bardugo book (the other authors on this list are Neil Gaiman, Erin Morgernstern, Suzanne Collins, Mary Shelley, and Jane Austen—and I mean if any of these announce a new book tomorrow, I will drop everything and read it, I will even read their grocery lists).

Secondly, it was released on my birthday. Of course I was excited.

The novel is set in the age of the Spanish Inquisition, smack-dab in the middle of Madrid, in the middling household of the Ordonos where our protagonist, Luzia Cotado, works as a scullery maid. When Lady Valentina Ordono discovers that Luzia is capable of performing miracles—magical feats of reparing a broken glass, turning one egg to a dozen, mending a ripped fabric without lifting a finger all of which she does in miserly amounts so as to never rouse suspicion—it sets off a chain-reaction of events that attracts the eye of Victor de Paredes, the most powerful man in town, as well as Antonio Pérez, the king’s disgraced secretary looking to get back his favor.

Now, Luzia has to compete in a tournament of sorts in order to prove the authenticity and holiness of her miracles while dazzling her patrons so that she can become the Holy Warrior Pérez will present to the king. But the path ahead is dangerous, one simple slip can turn her from saviour to heretic. In order to survive and win, she takes the help of Don Victor’s terrifying familiar—the one they call El Alacrán, or the scorpion—Guillén Santángel. And the servant that had existed as less than human for so long finds himself come alive the longer he spends near Luzia. But Don Victor has promised his freedom from servitude in exhange for Santangel ensuring Luzia’s triumph in front of the king. Luzia has to navigate who or what is more dangerous for her—the Inquisition, the wrath of her betters, or the scorpion-like familiar she is growing closer to every day? Oh, the doomed lovers of it all.

I will admit, this was a little underwhelming for me at first read. But I feel like that was more on me than the author. Leigh Bardugo has a certain style of writing that I was used to and was expecting when I entered this book. In my opinion though, The Familiar is vastly different from her other works in terms of writing style and voice. If I didn’t know it was written by her, I would never have guessed, and perhaps that is how I should have approached it from the start—as if it was just another book.

The research and historical accuracy of this book is, from what my limited knowledge of that era can tell, fairly thorough and well done. Clearly, a lot of love and labour went into it, it is obvious in every single word. The plot overall is also pretty solid, the characters and supporting cast are vivid. One of my complaints is that the romance between Santangel and Luzia, as compelling as it is when it happens, feels a little sudden and insta-lovey. A lot of their bonding happens off the page and then suddenly we the reader witness their strong feelings for each other without much buildup.

This brings me to what I feel like is the single overarching problem that I noticed in this book that covers nearly all the things I felt were off—it felt like there was a constant underlying struggle for dominance that was going on between the historical fiction and the romance aspects of the book, as if it couldn’t decide which one it wanted to be. I personally feel like romance is Leigh Bardugo’s usual strength and it was fighting for dominance over what she wanted to write, which was a historical fantasy inspired by and rooted in Spanish culture and history.

Because if this is primarily a historical fiction, then it makes sense that the romance is a subplot and the bonding happens off screen. But that does not explain the ending which feels more like an ending suited for the romance plot than a conclusion to the whole debate of witchcraft/hereticism vs holiness which was the main issue during that time. It felt confused to me, a little.

Other than that, I loved the characters and the romance, and I liked the commentary on the historical issues of the time. I would say my most favourite character was Valentina, what an all-star. I loved her ending and her entire character arc.

My most favourite part in the book, the moment that the book well and truly hooked me in, was Santangel’s backstory. Part of me wishes we had received hints to it earlier on, maybe as a forgotten legend or folktale, and then it was fully explained as his backstory halfway through the book.

There were definitely things I loved about this book and it was an enjoyable time, by no means a bad book. But also not Leigh Bardugo’s best work, in my opinion. I feel like I will cherish it more on future rereads. Overall, this reads like an old folktale that an elder is telling you by the fireside. It has that shifty vibe, if you know what I mean, of a story that has been passed down generations and touches upon many different things while retaining its general framework of a folktale. If you enjoy historical fiction, particularly fantasy, forbidden or doomed romance with an immortal, or take an interest in the Spanish Inquisition era, this book is for you. However, I would recommend, for fans of Leigh Bardugo, to leave your preconceived expectations at the door for a better experience. This is unlike any of her previous stuff.