Mitchell Del Prete’s Reviews > The Familiar > Status Update
Mitchell Del Prete
is on page 137 of 379
Lots of things to note within Bardugo's brilliant storytelling. The multi-faceted metaphor of the pomegranate is quite apt. It reflects the unbridled bloom of Luzia's life, as she she bestows the plant life within the narrative. It's red juice depicts the bloodshed that she has been, and may no longer shy away, from causing. And it conveys the contrast of good and evil that is so prevalent within the novel
— Jul 16, 2026 09:29AM
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Mitchell Del Prete
is on page 231 of 379
Oranges are certainly of some significance, hopefully to be revealed sooner rather than later. I adore how the story of Luzia and Valentina mirrors Santángel and Tello. Servant and wealth experiencing a rise to prominence simultaneously, until inevitably, I imagine Valentina will experience a grand decadence. This is truly marvelously written
— Jul 20, 2026 06:56AM
Mitchell Del Prete
is on page 179 of 379
Unless she loses sight of what she's building, this is going to be an easy 5 stars
— Jul 18, 2026 04:51PM
Mitchell Del Prete
is on page 41 of 379
Only 41 pages in and this is already beautifully written. The metaphor of Luzia and her Jewish heritage as a game bird being slowly cooked over the fire, the dialogue between Luzia and her tía, the snarky humour. All of it
— Jul 14, 2026 06:57AM
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Jul 16, 2026 09:37AM
As Santángel comments, the pomegranate has its own meaning in many different folklore or religions. It is believed to be a gift from Allah, or the fruit that the Devil manipulated Adam and Eve with as chronicled in the Bible. So, is Luzia's ability a gift from some divine higher power, or is it a faux-icon of knowledge meant to seduce its user into destruction and treachery, the eradication of a long forgotten paradise? It's brilliant work from Bardugo, and we watch as this contrast between morality and depravity is implemented in other facets. Santángel himself is evidently not a pious man, but "ángel" is a prominent feature of his name, contradictory enough. Luzia and Valentina are also compared as foils, both experiencing opportunities for privilege that women seldom experience, especially in this time period. Is their newfound vanity divine or vile? We regard Luzia as she considers embracing that her ability may be amoral, but Valentina hones ignorance in the potential corruption of her vanity. This has the making of an absolutely tragic novel that chronicles the hardships of women (historically, yet presently, too) while simultaneously broaching the confines of morality vs apathy. Bardugo is executing this exceptionally well
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