THE REESE'S BOOK CLUB PICK FOR MARCH 2024A NEW YORK TIMES, ELLE AND GOOD HOUSEKEEPING HIGHLIGHT FOR 2024'Anita De Monte Laughs Last asks some big questions, like who in art or history is remembered, who is left behind or erased and why. I have goosebumps just talking about this story' Reese Witherspoon 'Rollicking, melodic, tender and true. And oh so very wise' Robert Jones, Jr., author of The ProphetsWho gets to leave a legacy? 1985. Anita de Monte, a rising star in the art world, is found dead in New York City; her tragic death is the talk of the town. Until it isn't. By 1998 Anita's name has been all but forgotten - certainly by the time Raquel, a third-year art history student is preparing her final thesis. On College Hill, surrounded by progeny of film producers, C-Suite executives, and international art-dealers, most of whom float through life knowing that their futures are secured, Raquel feels herself an outsider. Students of colour, like Raquel, are the minority there, and the pressure to work twice as hard for the same opportunities is no secret. But when Raquel becomes romantically involved with a well-connected older art student, she finds herself unexpectedly rising up the social ranks. As she attempts to straddle both worlds, she stumbles upon Anita's story, raising questions about the dynamics of her own relationship, which eerily mirrors that of the forgotten artist. Moving back and forth through time and told from the perspectives of both women, Anita de Monte Laughs Last is a propulsive, witty examination of power, love and art, daring to ask who gets to be remembered and who is left behind in the rarefied world of the elite. 'Writing with urgency and rage, Gonzalez speaks up for those who have been othered and deemed unworthy, robbed of their legacy' Washington PostPraise for Xochitl Gonzalez and Olga Dies Dreaming 'Don't underestimate this new novelist. She's jump-starting the year with a smart romantic comedy that lures us in with laughter and keeps us hooked with a fantastically engaging story' Washington Post 'The sharpest and best written social comedy in a while' Los Angeles Times 'An astounding new voice' Esquire
