The Symbol of "Graceland" (Paul Simon Song) in Anita de Monte Laughs Last
Overview of the "Graceland" Motif
In Xóchitl González's novel Anita de Monte Laughs Last, Paul Simon's 1986 song "Graceland" emerges as a recurring auditory symbol that threads together memory, exile, haunting, and identity. Unlike a static object, the song functions as a leitmotif—its sound and lyrics appear at key moments, often triggered by or associated with the ghost of Anita de Monte. The song’s literal content (a journey to Elvis Presley’s home, Graceland) is less important than its emotional resonance within the story: it becomes a vessel for Anita’s Cuban–American heritage, her unresolved anger, and eventually her transition from vengeful spirit to protective guardian. The motif also exposes Jack Martin’s guilt and fear, while linking Anita’s legacy to the broader themes of erasure and reclamation explored in the novel.
This page examines each appearance of "Graceland" in the narrative, traces how its meaning shifts, and connects the song to key characters and themes. For deeper context on Anita’s haunting and legacy, see the Haunting and Legacy theme page.
Where "Graceland" Appears in the Novel
The motif appears in at least three distinct scenes, each revealing a different layer of its symbolic weight.
1. Jack Martin’s Drive (Chapter 16, Jack’s POV)
Jack Martin, years after Anita’s death, is driving with his companion Ingrid. He hears "Graceland" playing on a cassette in the car. The sound coincides with a rare moment of hope and sexual confidence. Jack feels the specter of Anita might finally be gone, and he joins Ingrid in dancing to the song at a lakeside house. This is the only time Jack voluntarily engages with the music; it brings him a fleeting sense of lightness. However, later that night, the same song mysteriously begins playing on the stereo, and a bat appears—a supernatural event that signals Anita’s presence. Here, "Graceland" starts as a source of comfort but quickly becomes a harbinger of haunting.
2. Tilly’s Party, Spring 2000 (Chapter 34, Anita’s POV)
Anita, now a powerful ghost, descends from the ceiba tree to Tilly Barber’s art party. She changes the CD on the stereo to "Graceland" and turns the volume louder each time someone tries to stop it. The song causes panic among the guests, none more than Jack, who flees toward the staircase. Anita briefly considers pushing him to his death but ultimately stops. This is the climax of the motif: the song is weaponized by Anita to terrorize Jack and disrupt the stale art-world gathering. It also marks Anita’s final active haunting, as she chooses to let go of vengeance.
3. The Ceiba Tree and Varadero (Implied Context)
While "Graceland" is not explicitly heard in the chapters set at the ceiba tree (Chapters 17, 20, 26), the song’s association with Anita’s Cuban–American identity connects to her memories of Varadero, where she spent time as a ghost. In Chapter 17, Anita descends the ceiba to places that made her happy, including Havana and Rome. The song’s theme of traveling to a mythic homeplace resonates with her own exile from Cuba and her longing for a past she can no longer inhabit.
Shifting Meanings: From Memory to Haunting
The meaning of "Graceland" evolves throughout the novel, reflecting Anita’s changing emotional state and the power dynamics between characters.
Early Association: Memory and Heritage
For Jack, the song first appears tied to memory. In Chapter 16, he thinks of "Graceland" as an earworm—a catchy pop song that reminds him of the day he spent with Ingrid. But for Anita, the song is never neutral. Although the novel does not give Anita’s direct thoughts on the lyrics, the context of her Cuban–American identity suggests the song resonates with themes of displacement and identity. Paul Simon’s album Graceland (1986) famously incorporated South African music and was criticized for cultural appropriation, but within the novel, the song becomes a marker of Anita’s otherness in the white art world. Her decision to play it at a party full of "rich fat cats" with "nary a brown speck in sight" (Chapter 34) is an act of defiance—a way to assert her heritage in a space that erased her.
Later Transformation: A Weapon of Haunting
By the Spring 2000 party, the song has become a direct tool of spectral intervention. Anita uses it to cause chaos and terror, specifically targeting Jack. The lyrics "Losing love is like a window in your heart" (referenced in Chapter 16 as Jack hears them) take on a brutal irony: Jack lost Anita through his violence, and the song now forces him to confront that loss and his guilt. The motif thus shifts from a personal memory trigger to an active haunting mechanism, embodying Anita’s anger and her refusal to be forgotten.
Final Resolution: Release and Protection
After Anita chooses not to push Jack down the stairs, she stops actively haunting. "Graceland" does not appear again. This suggests that once her need for vengeance is released, the song loses its disruptive power. Instead, Anita transitions to a protective role, helping Raquel (as when she brings her a mouse). The motif ultimately becomes a symbol of Anita’s agency—first as a tool of wrath, then as a sign that she has moved on. For a fuller examination of Anita’s arc from vengeful ghost to guardian, see the Anita de Monte character page.
Connections to Character and Theme
Jack Martin
Jack’s reaction to "Graceland" reveals his fear and guilt. In Chapter 16, his hope that the song signals the end of Anita’s haunting is quickly shattered. The song becomes a sonic reminder of his crimes. His inability to escape the music—even in a remote house—mirrors his inability to escape Anita’s ghost. The motif underscores the theme of Power and Control, as Anita uses the song to regain control over her narrative and over Jack.
Raquel Toro
Although Raquel does not directly encounter the song in the provided evidence, her story is thematically linked. Raquel, a Puerto Rican art history student, struggles with her own identity and belonging in an Ivy League world. The motif of "Graceland" resonates with her journey toward self-worth and her reclamation of marginalized artists. Raquel’s research on Anita helps restore Anita’s legacy, and the song’s themes of exile and homecoming parallel Raquel’s own search for place. For more on Raquel’s experiences, see the Raquel Toro character page and the Identity and Belonging theme.
Theme: Exile and Heritage
"Graceland" ties directly to Anita’s Cuban–American background. The song—about a journey to a cultural landmark—can be read as a metaphor for Anita’s own displacement. She was born in Cuba and later lived in the United States, always an outsider. In Chapter 2, she dances to "Quimbara" (a Cuban song) at the party where she later dies, asserting her heritage. In death, "Graceland" becomes the anthem she uses to reclaim space. The song thus reinforces the theme of Erasure of Women Artists, as Anita uses sound—a temporary, intangible medium—to resist being forgotten.
Theme: Haunting and Legacy
As a ghost, Anita’s ability to manipulate music proves she is not powerless. The "Graceland" motif is a form of haunting that disrupts the living world, forcing characters to remember her. This aligns with the Haunting and Legacy theme, which explores how Anita’s art and spirit persist. By the end, her use of the song becomes less about revenge and more about ensuring her place in memory—a legacy she secures through Raquel’s work.
Class and Privilege
Anita’s choice of "Graceland" at Tilly’s party also comments on class. The party is filled with wealthy art dealers and collectors; the song—a pop hit accessible to all—undermines the elitist atmosphere. This ties to the Class and Privilege theme, as Anita disrupts the exclusive social space with a piece of mass culture, highlighting the artificial boundaries of the art world.
Study Questions and Answers
Question 1: Why does Anita choose to play "Graceland" at Tilly’s party in Chapter 34, and what does this reveal about her character at that moment?
Answer: Anita chooses "Graceland" because it is a song with personal and cultural resonance that also terrifies Jack. At this point, she is "big and powerful" again, having regained her art and her spirit thanks to Raquel’s efforts. Playing the song is an act of defiance against the boring, white, wealthy party atmosphere ("nary a brown speck in sight") and a direct assault on Jack, who associates the song with his guilt and her haunting. The choice shows Anita reclaiming agency, using sound to force acknowledgment of her presence. However, her eventual decision not to push Jack indicates a shift from rage to release.
Question 2: How does the meaning of "Graceland" differ in Chapter 16 (Jack’s perspective) versus Chapter 34 (Anita’s perspective)?
Answer: In Chapter 16, "Graceland" initially represents hope and freedom for Jack. He dances to it with Ingrid and feels that Anita’s ghost might be gone. The song is a source of lightness until it turns eerie. For Anita in Chapter 34, the song is a weapon and a declaration of identity. She uses it to cause panic and to remind Jack of his crime. The difference highlights the asymmetry in power: Jack sees the song as a temporary escape; Anita sees it as a tool for haunting and reclamation.
Question 3: In what way does "Graceland" connect to Anita’s Cuban–American heritage, and how does this relate to the novel’s exploration of exile?
Answer: The novel establishes Anita’s Cuban background through memories of Varadero, Havana, and her family – she was "rich in Cuba" (Chapter 2) and her mother’s tears are mentioned. "Graceland" is a Paul Simon song that, in the novel’s context, becomes associated with Anita’s identity as an outsider. Although Paul Simon is not Cuban, the song’s theme of traveling to a mythic homeplace resonates with Anita’s exile from Cuba. By playing it at a party dominated by white elites, Anita asserts her cultural difference and refuses to assimilate. This connects to the larger theme of exile, as Anita’s ghost is caught between her past in Cuba and her death in New York.
Question 4: Why does Anita stop using the song after the Spring 2000 party, and what does this signify for her character arc?
Answer: Anita stops using "Graceland" because she chooses to end the cycle of vengeance. She says, "I was tired of it … the same cycle of two people determined to make each other miserable." After the party, she shifts from active haunting to a protective role, visiting her sister and helping Raquel. The cessation of the motif signifies that Anita has found peace, largely because her art is back in the world and her legacy is being restored. The song no longer serves its purpose as a tool of wrath; instead, Anita transcends the need for revenge and becomes a guardian spirit.