"leigh bardugo writes it, i read it.

for better or worse.

guess which one it is in this case.

welcome to THE FAMILIAR, the genre-bending, worst-of-both-worlds historical fantasy universe of luzia. luzia is a maid. she is also magic. she is also boring.

luzia is an orphan who works in some middle class evil lady's house cleaning stuff all day. she is obsessed with her aunt, who has a lot of money. you may be like "why doesn't she live with her aunt, then?" because she is a kept woman. you might then wonder why luzia's girlboss self is so bothered by this: she is not. she sleeps on a dusty floor instead of on, like, glamorous cushions with her dear family member because her (dead) dad thought her aunt's reputation was bad and that's the worst thing that can happen to a girl. the concept of being near a bad reputation. because of wanting to get married.

do not dwell on that too long, because we're going to ignore it for the rest of the plot.

we're hot in the middle of the SPANISH GOLDEN AGE, and it's evil to be a witch but it's very rad to be so christian it actually makes you magic. luzia sets off to participate in a god's love contest, along with her abusive employer (ignore that), her aunt's bad reputation (ignore that), a million year old creep (ignore that, he's supposed to suddenly become sexy), her aunt's boyfriend and his wife (ignore that), and a few ragtag others.

discerning readers may remember we mentioned a creepy ancient man we are supposed to find unbelievably hot about halfway through. this wannabe edward cullen makes up half of the world's most soulless romance.

somehow i'm reading about magical star-crossed lovers and their doomed soulmate status but i know couples from my high school whose stories i'm more interested in. which is maybe not a fair comparison because i love gossip, but still.

on top of being a boring romance, this is not a convincing historical fiction. that doesn't bother me really (i hate reading modern writers try to write old-timey), but the fact that it's also not a convincing teller of its own story does.

this book is not sure how our protagonist knows so much, or expects more for herself, or practices her magic. it kind of just inconsistently provides her with whatever is convenient for the scraps of plot we're navigating and hopes we don't have follow-up questions or memory of what we've already read.

the writing, too, is style-first: sentences sound good, but when you take away the drama, they don't really fit together. the sweeping gestures of characters and of wording...both of them rarely make sense.

also, for some reason our narrator is omnipotent.

yes. all of the side characters' internal thoughts and feelings pop up from time to time like an annoying bug, seeming like a shallow afterthought compared to the protagonist's, with none of it going beyond what you or the main character would assume. so why bother? who knows!

that's not the only perspective choice that left me shaking my damn head either. to have it be speaking from the future and casting opinions on the events of the story was even weirder. it's so annoying to be like "perhaps if luzia had gotten a haircut that day everything would be different." ok butterfly effect!

i can always tell i really didn't like a book if i have multiple paragraphs' worth of thoughts about a single writing element. but i force myself to digress.

in the most annoying and present sin of all, this is not a story of magic trials and sorcery.

it's about old-timey european politics.

the climax occurs when a former secretary loses his job. 

unforgivable.

bottom line: this book is nothing that it said it was, and nothing that it wanted to be, and nothing when you dig into it at all."

"I had such a fantastic time reading this book! It's smart, joyful, scary, sexy, challenging, weird and messy in the best possible way. The three short stories and novella included in this collection range wildly in style and subject matter, but all of them imaginatively inspire different ways of thinking about gender and trans experience. There's a manufactured contagion where everyone must choose and maintain whether they are female or male. At a boarding school a popular guy pursues his secret desires with the soft body of his roommate while boisterous lads demonstrate their masculinity. A week-long Las Vegas event for cross-dressers and trans women leads a vulnerable individual to make an extremely tense decision. And, in the book's titular longest story, a group of lumberjacks perform a unique ritual to satisfy the simmering repressed desires which accompany living in an isolated remote forest. These tales dramatise how none of us simply inhabit pure masculinity or femininity but exist in different shades which are constantly changing. The collection also cleverly probes the blurred lines between being cis and trans and questions whether such lines even exist.

After Torrey Peters' breakout many have been eagerly awaiting the next book and some will no doubt be disappointed that this follow up isn't a novel. However, the imaginative range found in these stories make each of them memorable. They show how the strength and support which can be found within communities, friendships, relationships and sisterhood are also accompanied by instances of jealousy and backstabbing. Within all groups there are hierarchies based on relative beauty and power, but especially amongst marginalised communities. These things can be difficult to discuss and it's brilliant how Peters gets into the nuance of individual experience in this imaginative fiction. I admire that she doesn't feel the need to sanitise this complexity or present virtuous examples of queer life. There are desires which some can only admit online or under certain circumstances and which morph as they leak into reality. I found it highly relatable the vulnerability some of these characters experience as they tentatively step into a like-minded community and relationships. It can be so disorientating and frightening trying to forge real connections while still trying to figure yourself out and avoid those who want to take advantage of naïve newcomers. Peters presents all this in a way which doesn't shrink from this darkness but it also feels celebratory and so very funny. This is queer excellence.


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