STARRED REVIEW
March 2024

Anita de Monte Laughs Last

Review by
Though told with humor and a light touch, Anita de Monte Laughs Last doesn’t shy away from serious issues: the erasure of women from the art history canon and the racism often faced by first generation students of color at Ivy League colleges.
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Part campus novel, part ghost story, Xochitl Gonzalez’s second novel, Anita de Monte Laughs Last, fearlessly takes on racism and misogyny in the rarefied world of fine art and art history. 

Nodding to real-life Cuban-born artist Ana Mendieta and her husband, minimalist sculptor Carl Andre, the novel opens in the late 1980s with the death of artist Anita de Monte. After a violent argument with her husband, Jack Martin, Anita was found on the sidewalk outside their apartment, leaving speculators to wonder—did she jump or was she pushed? As Andre was in his real trial, Jack is acquitted and continues his successful and lucrative career, while Anita’s art is all but forgotten. Ten years later, Raquel Toro is an art history major at Brown. Her working-class, Puerto Rican background makes her feel out of place at the university and even more so in her department, where she doesn’t fit in with the privileged “Art History Girls.” Fortunes change when Raquel begins dating art major Nick Fitzsimmons, whose wealthy parents have ties to New York’s major museums and galleries, and when her advisor enthusiastically supports Raquel’s senior thesis on Jack Martin’s career. 

The dynamic between Raquel and Nick mirrors the one between Anita and Jack, with both men trying to control their partner’s physical appearance, clothing and schedule through microaggressions and expensive gifts. As Raquel’s summer internship redirects her research to include Anita’s experience, Anita’s story, told in parallel chapters, takes a turn for the uncanny; she subtly haunts Jack from beyond the grave, transforming into a bat and shifting his meticulously displayed art works. Though told with humor and a light touch, Gonzalez doesn’t shy away from serious issues: the erasure of women from the art history canon and the racism often faced by first generation students of color at Ivy League colleges. As Raquel brings Anita’s groundbreaking sculptures to light, Anita de Monte Laughs Last boldly questions the choices behind what we are taught and demands that the complete story be disclosed.

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