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Xóchitl GonzálezA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Blanca’s letter explains that she was named for the revolutionary Blanca Canales, and has tried to live up to that name. Blanca and Johnny decided to name their daughter after Olga Garriga, a Brooklyn activist who advocated for Puerto Rico. However, Blanca worries that Olga will become like a different Olga (the one from the poem “Puerto Rican Obituary”—see Background for more), who chased a love she would never have. Blanca criticizes Olga’s job as a wedding planner, saying that someone sent her a tape of Olga’s reality TV show. She reminds her daughter to follow Olga Garriga’s path.
Prieto picks Olga up from the party and notices that she has been crying. She lies, saying that she smoked weed with some of the valets and put Visine in her eyes. She did not expect to cry, but was shocked that Dick thought he could talk to her like he had.
Prieto thanks her for helping with Reggie. He worries that no one in the Hamptons cares about Puerto Rico. When Olga mentions Nick Selby and Dick’s investment there, Prieto tells her to stay away from Selby. Growing suspicious, she asks why he cancelled the PROMESA hearing. Prieto reiterates what he said at the party—that PROMESA was a compromise between Democrats and Republicans when it appeared that Puerto Rico’s government would default on its debt. Prieto knows that PROMESA is a mess and makes it seem like the island can’t handle itself.
Olga notices that Prieto does not take his eyes off the road while he justifies himself and decides to change the subject. She suggests Prieto rent Mabel’s former apartment to Christian, since she will move out after her wedding. Olga describes Jan’s funeral. No one in Jan’s family admitted to knowing he was gay, but Olga posits that they probably did know but never talked about it. She is alluding to Prieto’s situation without saying it aloud.
When Prieto is reluctant to let Christian rent the apartment, Olga is uncomfortable because she fears she will need to remind Prieto that she technically owns the house—Abuelita left it to her. When Tía Lola had read the will, she told the rest of the family that it belonged to “the Estate,” but then pulled Olga and Prieto aside and told them the truth. Olga told Prieto that his family could use it for whatever they needed. Now, Olga doesn’t bring up the house ownership, but she is angry at Prieto’s refusal to allow Christian to move in. She asks if Prieto doesn’t want him there because he’s afraid of what he’ll want to do. Prieto turns the music up.
Olga realizes that she doesn’t have any actual friends. She has always been closest with family, especially her brother. For high school, she attended a special photography program in Manhattan, alienating her from many in her neighborhood. In college, she hoped to reinvent herself but was shocked at how wealthy her college classmates were. She bonded with international students over feeling out of place. After college, Olga moved between the world of her cousin Mabel and the world of her college peers. Reggie was part of Mabel’s world; when Olga and Reggie broke up, Mabel felt distant from Olga, putting a permanent wedge between them.
In the present, Prieto and Olga make up, agreeing that they hate fighting. He admits that it’s her house, and she points out that she wouldn’t have offered the apartment to Christian if he didn’t need it.
Olga tells Matteo about her father and how he passed away. She went to the hospital to visit him, but Prieto never did. Before, Olga assumed it was because of their mother, who likely thought that their father had not lived up to his Puerto Rican heritage. But now, Olga thinks it’s because Prieto was afraid.
Olga asks Matteo if he’s ever had a conversation that inexplicably changed his perspective. He felt that way when he learned that his mother was dying. At this, Olga unburdens herself, telling Matteo that Prieto has always wanted to be liked, which might prevent him from coming out. Olga believes their conversation about Christian confirmed that Prieto is gay—it’s the first time she’s ever seen Prieto not want to help someone. She now realizes that this is why Prieto never went to see their father in the hospital: He was afraid that if their family saw him around people who were gay, they would know that he is too. Now, Olga is afraid: If this secret caused Prieto to not visit his father’s deathbed, what else might he do to protect it? Matteo points out that many politicians face the same dilemma.
Olga has to go to the bathroom. Matteo is hesitant to let her in since he has admitted that he’s a hoarder, but after she begs him to let her in, he goes inside briefly to adjust things and then allows her to enter. One room is full of furniture, while another is filled with vinyl, CDs, and other musical items. Part of Matteo’s mental illness is categorizing rooms like this. Olga is the first person who has been in the house, besides him, in eight years. She thanks him for letting her use the restroom, and he understands that she is thanking him for letting her in.
Matteo puts on a record, and they dance. Olga destroyed all of her father’s records after he died, so Matteo offers to bring a record player and all of the records he has in common with her father’s collection to her home. Olga says that the room is a nice place to listen to music. For the rest of the night, they listen together. She asks him to come to Mabel’s wedding with her.
The weight of the Expectations of Others lands even more heavily in this section, as Blanca’s letter explains the legacy of not just Olga’s name but also her own. By being named after a famed revolutionary, Blanca has adopted the ideals of political change so wholeheartedly that there was no room left for her children. Even as an accomplished radical, she still worries about living up to the name she has been given.
Blanca named Olga for another famous political agitator, hoping to instill a similar drive into her daughter. When Olga doesn’t live up to this namesake, Blanca cannot see her daughter as a person in her own right. Instead, she can only find other historical antecedents to explain who Olga has become. A second allusion to the poem “Puerto Rican Obituary” allows Blanca to condemn Olga for being a wedding planner and filming Spice It Up—work that positions Olga as part of the capitalist system that Blanca deplores and that equates her, in Blanca’s mind, with one of the poem’s characters, an Olga who dies dreaming of material possessions. Of note is that Blanca did not put any of this kind of historical baggage into Prieto’s name—possibly, her internalized sexism precluded her from assuming that a boy would need the same kind of externally oppressive motivation to follow in her footsteps.
Prieto’s corrosive secret about his sexuality threatens to erode the trust between brother and sister. When Prieto explains that he supported PROMESA because it was the only viable option for Congressional approval, Olga, who knows him incredibly well, can tell that he is holding something back. This makes her more likely to believe her mother suspicions that Prieto is taking bribes for his votes. It scares Olga to think that her morally-upright brother could be corrupt. If he were to unburden himself, she would no doubt feel sympathy for his experience of blackmail, but as it is, she feels more distant from him than ever.
While Olga has made some strides in getting over her family’s habit of never talking about difficult things, it is hard to Let Go of the Past. Secrecy runs through the family: Abuelita made Olga swear not to tell anyone about going to church, Blanca has secret means of keeping tabs on her children, Olga refuses to tell anyone about her parents lest it occasion pity, Tía Lola is possibly closeted herself, and though Olga assumes many of her family members know that Prieto is gay, no one has ever talked about it. We can see the extent of this history of silence, euphemism, and talking around things in their conversation about Jan and Christian. Neither mentions the elephant in the room—that Prieto is gay—but Olga perceives her extremely subtle hints about Jan’s homosexuality and his family’s lack of surprise as being a clear and forthright communication about Prieto’s own sexuality. Prieto dodges, worried that his life is going to come crumbling down and that he is going to die in the same way that his father did, but to Olga this seems as though they’ve had a clarifying and honest discussion. This disconnect between what readers see on the page and what the characters experience is Gonzalez’s way of illustrating how far these adults are from disentangling themselves from bad habits instilled in childhood.
Matteo, too, takes a huge step in allowing Olga to come into his home, which exposes his vulnerability to her. They’ve had different, but connected, responses to their parental traumas. When his mother died, Matteo responded by never again letting go of a single object, surrounding himself with things that will never go away. Olga, who also experienced the pain of losing a parent, reacted in a perfectly opposite way: “Instead of filling her house, she had slowly stripped herself bare” (187).
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