Xochitl Gonzalez’s sophomore novel “Anita de Monte Laughs Last” is a tour de force that will leave readers breathless. Following up her acclaimed debut, “Olga Dies Dreaming,” Gonzalez has crafted a mesmerizing tale that spans decades and delves deep into the intersections of art, power, race, and love. This is historical fiction with bite, mystery with heart, and contemporary commentary wrapped in lush prose that brings 1980s New York and 1990s Ivy League academia vividly to life.
The Story: Two Women, Two Eras, One Haunting Tale
At the center of this multilayered narrative are two Latina women separated by time but connected by art and circumstance. In 1985, rising star artist Anita de Monte falls to her death from a Manhattan high-rise in what’s ruled an accident but whispered about as murder at the hands of her famous minimalist sculptor husband, Jack Martin. Fast forward to 1998, and we meet Raquel Toro, a working-class Puerto Rican student at Brown University who’s navigating the rarified world of art history and old money.
As Raquel becomes romantically entangled with Nick Fitzsimmons, the privileged son of a museum board member, she stumbles upon Anita’s forgotten story. The parallels between the two women’s lives are undeniable, and Raquel becomes obsessed with uncovering the truth about Anita’s death and erasure from the art world canon. What follows is a gripping excavation of not just Anita’s life and work, but of the very systems that allow certain artists to be elevated while others are discarded.
Characters That Leap Off the Page
Gonzalez has a gift for creating complex, flawed characters that feel achingly real. Anita de Monte is a force of nature—passionate, talented, and uncompromising in her art and her love. Even from beyond the grave, her presence electrifies every scene she’s in. Raquel is equally compelling, as she struggles to find her place in a world that wasn’t built for her. Her journey from insecure student to confident advocate for forgotten artists is both inspiring and relatable.
The supporting cast is equally well-drawn. Jack Martin is a fascinating study in ego and insecurity, while Nick Fitzsimmons embodies the casual cruelty of inherited privilege. But it’s the women who truly shine—from Raquel’s tough-as-nails mother to the quietly revolutionary museum curator Belinda Kim.
A Master Class in Structure and Voice
One of the most impressive aspects of “Anita de Monte Laughs Last” is its innovative structure. Gonzalez weaves together multiple timelines and perspectives with effortless grace. We get Anita’s story largely through her own ghostly narration, which adds an element of magical realism that works surprisingly well within the otherwise grounded narrative. Raquel’s sections are told in close third person, allowing us to experience her growth and revelations alongside her.
The shifts in time and perspective could be jarring in less skilled hands, but Gonzalez uses them to build tension and reveal information at just the right moments. It’s like watching a master jeweler facet a precious stone—each cut precisely placed to maximize brilliance.
Themes That Resonate
At its core, this novel is an exploration of power dynamics in the art world and beyond. Gonzalez fearlessly tackles issues of racism, sexism, and classism, showing how these forces can conspire to silence marginalized voices. The book asks difficult questions about who gets to be remembered by history and who decides what art is “important.”
The romantic relationships in the book serve as microcosms of these larger power imbalances. Both Anita and Raquel find themselves drawn to men who simultaneously elevate and diminish them. The parallels between their stories are haunting, highlighting how little has changed for women in the decades separating them.
There’s also a poignant examination of the immigrant experience and the pressure to assimilate. Raquel’s struggle to reconcile her Puerto Rican heritage with her Ivy League aspirations will resonate with many first-generation college students.
A Love Letter to Art
Perhaps the most beautiful aspect of this novel is its deep reverence for art. Gonzalez’s descriptions of Anita’s avant-garde performances and installations are breathtaking. You can almost feel the raw energy emanating from the page. Even Jack Martin’s cold minimalism is rendered with appreciation for its technical mastery, if not its soul.
Through Raquel’s academic journey, we get crash courses in art history that never feel didactic. Instead, they illuminate the joy of discovery and the power of representation. When Raquel finally sees artwork that reflects her own experience, it’s a moment of profound catharsis.
Prose That Sings
Gonzalez’s writing is a perfect blend of literary flourish and page-turning accessibility. Her descriptions of New York City in the 1980s art scene crackle with energy:
“The night of the opening, the place was packed, full of people and smoke. I was talking with two of the members of the collective. They were congratulating me on the show, commenting on how Third World art was really having a ‘moment.’ ‘Yes,’ I’d replied, ‘but don’t you think a permanent place would be better than a passing measure of time?'”
She’s equally adept at capturing the insecurities and longings of young adulthood:
“She felt a melancholy come over her and then a bit of dread. She could avoid Mavette, far away on some boat in the South of France, but she couldn’t avoid Marcus. Marcus who, when she called him on Saturday evening, from a pay phone near Bowen’s Wharf, to say that Nick had surprised her and taken her off to Newport, remained silent.”
A Few Minor Quibbles
If there’s any criticism to be leveled at “Anita de Monte Laughs Last,” it’s that the plot occasionally relies a bit heavily on coincidence to move forward. Some readers might find the ghostly aspects of Anita’s narration a stretch, though I found it added a welcome touch of the surreal to the story.
Additionally, while most of the characters are nuanced and three-dimensional, a few of the villains (particularly some of the racist art world gatekeepers) can feel a tad one-note. However, these are minor complaints in an otherwise stellar novel.
The Verdict: A Must-Read
“Anita de Monte Laughs Last” is a triumph. It’s the rare book that manages to be both intellectually stimulating and emotionally satisfying. Gonzalez has crafted a story that will make you think, feel, and perhaps see the world a little differently.
Fans of Donna Tartt’s “The Secret History” will appreciate the Ivy League setting and the exploration of class dynamics. Those who loved the art world intrigue of “The Goldfinch” will find much to enjoy here as well. Readers of Zadie Smith’s “On Beauty” will recognize similar themes of race and academia expertly woven together.
This novel cements Xochitl Gonzalez as a major literary talent to watch. If “Olga Dies Dreaming” announced her arrival, “Anita de Monte Laughs Last” proves she’s here to stay. It’s a book that will linger in your mind long after you turn the final page, challenging you to look more closely at the art on museum walls and consider whose stories aren’t being told.
In the end, it’s Anita herself who perhaps best sums up the power of this novel:
“I had taken it for granted before—the moments when part of me was able to stay alive. All I could do was rage at what I felt was my right! My right to be seen! But now, after so long, after being buried and buried and buried again, these women were unearthing me! Unearthing me. And I felt, for the first time since I had been dead, joy. Gratitude. With no melancholy. Just the thrill of fucking existence again!”
“Anita de Monte Laughs Last” is a thrilling excavation of a forgotten artist, a celebration of the power of art to connect us across time, and a reminder that some voices refuse to be silenced. It’s easily one of the best books of the year.
