Chapter 60: Enkele Opmerkingen – Author’s Note Analysis
⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.
Summary
The author begins by explaining her use of Ladino refranes (proverbs). She states that refranes are characteristic of Ladino and have contributed to the language’s survival. Although the precise origin and era of the specific proverbs she includes cannot be confirmed, she feels justified in incorporating them because they have crossed seas and distances to reach Luzia, and therefore could plausibly cross time as well.
Bardugo then acknowledges altering dates and facts surrounding two historical figures: Lucrecia de León and Antonio Pérez. She changed some details of Lucrecia de León’s imprisonment by the Inquisition, as well as the circumstances of Pérez’s fall from favor and his subsequent flight from Spain. Historically, Pérez managed to avoid capture multiple times—he attributed his escapes to astrological predictions—and eventually settled in England. There, he is believed to have inspired the satirical character Don Adriano de Armado in William Shakespeare’s Love’s Labour’s Lost. After Pérez’s departure, his estate La Casilla was seized by the Spanish monarchy and later converted into a convent.
This note serves as a transparent acknowledgment of the liberties Bardugo took in adapting real events for her narrative.
Key Events
- The author discusses her choice to include Ladino refranes, noting that language survival is a key reason for their presence.
- She admits to altering the chronology and specific facts of Lucrecia de León’s capture by the Inquisition.
- She explains that Antonio Pérez’s arrest and escape were modified for the story; historically he fled to England and became a model for a Shakespeare character.
- She mentions that Pérez’s property, La Casilla, was confiscated and later turned into a convent.
Character Development
No main characters from the novel’s plot appear in this note aside from a reference to Luzia as the recipient of the refranes. This reference reinforces Luzia’s connection to Ladino oral tradition without advancing her personal arc. The historical figures Lucrecia de León and Antonio Pérez are mentioned not as developed characters but as real people whose stories have been adapted. The note implies that Luzia’s world is shaped by cultural artifacts that survive across time and distance.
Themes, Symbols, or Motifs
- Language as Cultural Memory: The author highlights that refranes are a vital reason Ladino still exists, linking linguistic preservation to cultural identity.
- Historical Fiction and Creative License: Bardugo openly acknowledges changing dates and facts, inviting readers to consider the balance between authenticity and narrative demands.
- Time and Distance as Obstacles Overcome: The idea that refranes traveled seas and centuries to reach Luzia suggests that folklore and tradition can transcend temporal and spatial boundaries, mirroring the novel’s magical undercurrents.
- The Inquisition’s Shadow: By noting her alterations regarding Lucrecia de León and Antonio Pérez, Bardugo underscores the oppressive weight of the Inquisition on historical individuals without directly depicting it in the main plot.
Why This Chapter Matters
This author’s note provides essential transparency about the novel’s historical underpinnings. It helps readers distinguish between documented events and artistic interpretation, enriching the reading experience for those curious about the real-world context. The note also demonstrates Bardugo’s respect for Ladino culture while acknowledging her need to shape history for storytelling purposes. For students, book clubs, or anyone analyzing The Familiar, this chapter offers fertile ground for discussions about the responsibilities of historical fiction, the ethics of altering real lives, and the power of language to preserve heritage.
Study Questions and Answers
1. Why does Leigh Bardugo feel justified in using Ladino refranes even if their exact historical form and timing may be inaccurate?
She reasons that the refranes have already journeyed across great distances and seas to reach Luzia, so it is plausible they could also cross time to fit her narrative. She values the cultural essence of the proverbs over strict chronological precision.
2. What specific historical changes does Bardugo acknowledge making regarding Antonio Pérez?
She altered the dates and some details of his imprisonment and flight from Spain. Historically, Pérez avoided arrest multiple times (he claimed astrological foresight), eventually fled to England, and is thought to have inspired Don Adriano de Armado in Love’s Labour’s Lost. Bardugo omits or modifies these elements for her story.
3. How does this note connect to broader themes in The Familiar?
It reinforces the novel’s preoccupation with language, heritage, and the malleability of stories—both personal and historical. The refranes embody the persistence of Sephardic culture, while the altered historical facts echo the novel’s own magical manipulations of reality, where memory and time can be reshaped.
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