Chapter 31: Raquel – Confronting the Canon

⚠️ 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 chapter opens with Raquel’s mornings haunted by the absence of her ex-boyfriend Nick. She alternates between grief and determination, realizing that his need for her made her feel important, but at the cost of her own sense of worth. After the night he cut her hair, she understands his actions were intended to make her feel ugly and grateful. Supported by friends and family, she resolves to stand on her own.

Raquel meets with Professor John Temple to discuss Jack Martin. She argues that Temple omitted Martin’s domestic violence (Anita de Monte’s murder) from lectures, and that this erasure is morally wrong. She presents photocopies of de Monte’s 1981 Cuban sculpture and declares her intention to write a thesis on de Monte’s influence on Martin after his wife’s death. Temple initially dismisses de Monte as a minor artist and accuses Raquel of falling into identity politics. After a heated exchange, Temple admits he does not know the answers and gives his blessing for Raquel to have Belinda Kim advise her thesis instead.

Key Events

Raquel reflects on her breakup with Nick, acknowledging her loneliness but also her growing clarity about their unhealthy dynamic.
She receives a terse email from John Temple granting a single meeting slot.
Raquel dresses professionally for the meeting and feels confidence from her summer immersion in Jack Martin and Anita de Monte.
She confronts Temple about his omission of Martin’s domestic violence from his curriculum.
Raquel presents photocopies of Anita de Monte’s sculpture as evidence of Martin’s influence.
Temple initially resists, arguing de Monte was a minor artist and that her death was irrelevant to Martin’s work.
Raquel challenges Temple on the ethics of teaching Martin without context, citing parallels to other artists whose biographies are discussed.
She reveals her thesis proposal: to create scholarship linking de Monte’s art to Martin’s post-murder work.
Temple accuses her of identity politics; Raquel responds passionately about being allowed in academia only to parrot established views.
Temple surprises her by admitting his own uncertainty and gives his blessing for her to switch advisors to Belinda Kim.

Character Development

Raquel Toro: Moves from heartbreak and self-doubt to assertive academic agency. She no longer relies on Nick for validation and begins to see her own worth. In the meeting with Temple, she finds her voice, refusing to be silenced about the erasure of women and artists of color. She also recognizes that her passion is not a weakness.
John Temple: Initially defensive and dismissive, he eventually shows a moment of self-reflection when he admits he never thought he would become “The Man.” His concession to let Raquel pursue her thesis with another advisor signals a rare openness, though his broader mindset remains unchanged.

Themes, Symbols, or Motifs Evidenced Here

Erasure and the Canon: The chapter dramatizes how women artists, especially women of color, are written out of art history. Temple’s dismissal of de Monte as “a minor artist” contrasts with the reverence he gives Jack Martin.
Institutional Gatekeeping: Temple embodies the obstacles Raquel faces as a Latina, first-generation student. He frames her critique as “identity politics” and dismisses her perspective until her passion forces a crack in his facade.
Cost of Love and Neediness: Raquel’s analysis of her relationship with Nick mirrors the power imbalance between Martin and de Monte. She sees how Nick’s need for her made her feel special but also controlled.
Finding One’s Voice: Raquel’s decision to curse and show emotion in the meeting, though she knows it will be held against her, marks a turning point. She embraces her anger as a catalyst for change.

Why This Chapter Matters

Chapter 31 is a pivotal moment in Raquel’s academic and personal arc. Her confrontation with John Temple sets the stage for her thesis—and the book’s central investigation—into Anita de Monte’s legacy. Raquel’s refusal to accept the status quo challenges both the reader and the institutional structures that silence marginalized perspectives. The chapter also completes her emotional break from Nick, consolidating her growth as an independent woman ready to make her mark.

Study Questions and Answers

1. Why does Raquel decide to propose a thesis on Anita de Monte’s influence on Jack Martin?
Raquel believes that de Monte’s art—especially her Cuban sculpture from 1981—directly influenced Martin’s work after her murder. By creating scholarship that links the two, she aims to restore de Monte’s place in art history and challenge the narrative that Martin was a genius whose personal life was irrelevant.

2. How does John Temple’s response to Raquel reflect larger issues in academia?
Temple initially dismisses her argument as “identity politics” and insists that de Monte was too minor to matter. This reveals how institutions protect established canons by discrediting scholars from underrepresented backgrounds and treating their critiques as emotional rather than intellectual.

3. What does Raquel mean when she wonders if her hair grew back but something else didn’t?
The evidence does not include that exact phrasing, but the chapter shows Raquel reflecting that her short haircut may never fully grow back. It symbolizes the permanent rupture in her relationship with Nick and the trust that was broken. She comes to appreciate her own face without long hair, suggesting a deeper self-acceptance that was previously tied to his approval.