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Analysis Of Drown By Junot Diaz

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Junot Díaz, unlike most authors, has an ability to tell his stories without the use of large, descriptive passages. With only a few words he can immerse his readers into the environment of his stories, such as the subject work, Drown. Whether in a comfortable suburb or a decrepit neighborhood, Junot Diaz is skilled in producing active scenes with minimal words in his piece Drown. As Barbara Stewart writes about Junot’s work in Outsider with a Voice, “The New Jersey of which [Junot] writes is the one he knows: a place of blue-collar towns and Latino immigrants, of tostones (mashed fried plantains) and malls and roads where ‘beer bottles grow out of the weeds like squashes’” (New York Times, 8 Dec. 1996). I agree with Stewart’s assertion that, “[Junot] writes about the [place] he knows” because of his rich environmental descriptions, and the way he uses this information to provide context within Drown. Díaz uses his language to immerse the reader into his works. One chapter within Drown that illustrates this well is “Aurora”, a chapter centered on the life of drug dealer Lucero and his romantic endeavors with a questionable woman named Aurora. Díaz uses his careful word choice to illustrate the story setting, to provide context clues, and to provide a deeper meaning to the text in “Aurora”. An example of when Díaz uses his style of language to illustrate setting is when he describes Aurora’s messy living arrangements with druggies; Diaz placed great emphasis on common
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