Analysis of Behind Grandma's House

Junot Diaz was born in the Dominican Republic and immigrated with his family to New Jersey, where a collection of his short stories are based from. Out of that collection is a short story “Fiesta, 1980”, which was featured in The Best American Short Stories, 1997. This story is told from the perspective of an adolescent boy, who lives in the Bronx of northern New Jersey with his family. He is having trouble understanding why things are the way they are in his family. Diaz shows Yunior’s character through his cultures, his interaction with his family, and his bitterness toward his father.

In the short story Mr. Soto exclaims when he was younger he pushed a lawn mower, door to door trying to find someone who would pay him to cut their grass. At the time he did not know that his area was in the lower-class bracket, “It struck me like a ball. They were poor, but I didn’t even recognize them. I left the projects and tried houses with a little luck, and began to wonder if they too housed the poor” (101). This is significant because later he speaks about how he was so oblivious to how he grew up. Later in this childhood story he stated that he wanted to become a hobo since he thought there was no jobs for him in the world since he did not want to work like his father. He exclaimed that his dad would come home with blistery hands, sit down their living room chair and stare at the television for the rest of the night. At the end of this story he starts talking about how he became who he is now, and why he fell into his career. “It’s been twenty years since I went door to door. Now I am living this other life that seems a dream. How did I get here? What line on my palm arched in a small fortune? I sit before students, before grade books, before other professors talking about books they’ve yet to write, so surprised that I’m far from that man on the sidewalk” (101). This quote from “To Be A Man,” is a very smart and somewhat humorous line, because Mr. Soto realizes that he could have easily been a hobo on that

The author creates a mood of being irritating by her “…awful grandmother…” and brothers “…Alfredito and Enrique…” who are occupied playing outside as “… a B-Fifty-two bomber…” [paragraph 5] and her grandmother with a “… long, long list of relatives … names of the dead and the living into one long prayer…” [paragraph 10]. Including, the imagery provided in the short story described the character’s actions by watching her grandmother pray while she counts her grandmother’s mustache hairs. Later, an unknown lady and man start talking to her brother asking if she could take a picture, than judging by their looks, they assume they do not speak English but only

“Not a family room, but the room where my father twirled his hair while listening to eight-tracks of Elvis…where my mother learned to dance alone as she swept…” The quirks of the room are what remind him of the happy times he and his family had together; the times he seems to wish he wants back. In his poem, “El Florida Room”, Richard Blanco appreciates all the moments he had and all the memories that were created with his family in this room, especially with his parents and brother.

Soto’s use of imagery serves as an aid to the reader to better understand the author’s perspective, which is that of a six-year-old boy. Prior to stealing the pie, the author uses imagery to describe his temptation to steal. “My sweet tooth gleaming and the juice of guilt wetting my underarms” (Soto 1). The imagery here illustrates both the irresistibility of the temptation to steal and the immaturity of the young boy as he can’t take his mind off of anything but what is in front of him. After stealing the pie, Soto

In his autobiographical narrative A Summer Life, Gary Soto vividly recreates the guilt felt by a six- year-old boy who steals an apple pie. Through Soto’s reminiscent he has taken us on a journey of his guilt, paranoia, and redemption through the usage of tone, allusions, and imagery.

Throughout the autobiographical narrative written by Gary Soto, many different literary elements are used to recreate the experience of his guilty six-year old self. Different elements such as contrast, repetition, pacing, diction, and imagery. Soto narrates this story as a young boy at a time when he seems to be young and foolish, Soto foolmaking mistakes, but at the same time hoping to learn from them. Soto uses each of these devices to convey different occurrences in the narrative.

Gary Soto’s tone is filled with resentment for the evil deed he has accomplished. Realizing his actions and seeking forgiveness, this shows how innocent and spirit-minded he tended to be as a 6-year-old boy. It’s essential for people to sort their evil doings and aim to make up for them. This will make you feel better and not be loaded with torment and torture of disastrous ponderings.

“Beautiful and Cruel” marks the beginning of Esperanza’s “own quiet war” against machismo (Hispanic culture powered by men). She refuses to neither tame herself nor wait for a husband, and this rebellion is reflected in her leaving the “table like a man, without putting back the chair or picking up the plate (Cisneros 89).” Cisneros gives Esperanza a self-empowered voice and a desire for personal possessions, thing that she can call her own: Esperanza’s “power is her own (Cisneros 89).” Cisneros discusses two important themes: maintaining one’s own power and challenging the cultural and social expectations one is supposed to fulfill. Esperanza’s mission to create her own identity is manifest by her decision to not “lay (her) neck on the threshold waiting for the ball and chain (Cisneros 88).” Cisneros’ rough language and violent images of self-bondage reveal the contempt with which Esperanza views many of her peers whose only goal is to become a wife. To learn how to guard her power

As children grow up in a dysfunctional family, they experience trauma and pain from their parent’s actions, words, and attitudes. With this trauma experienced, they grew up changed; different from other children. The parent’s behavior affects them and whether they like it or not, sometimes it can influence them, and they can react against it or can repeat it. In Junot Díaz’s “Fiesta, 1980”, is presented this theme of the dysfunctional family. The author presents a story of an adolescent Latin boy called Junior, who narrates the chronicles of his dysfunctional family, a family of immigrants from the Dominican Republic driving to a party in the Bronx, New York City. “Papi had been with

One thing all human beings, have in common is the struggle for self identity. Children are raised by parents or guardians who have struggled and fought for their own identities. In many cases, parents are still trying to figure it out, while raising their own children. Such is the case with the characters in Junot Diaz’s, The Brief Wondrous Life of Oscar Wao. The theme of identity is conveyed through the characters’ Dominican culture, social standing, and in finding love. Oscar, Lola, and Yunior are three central characters in Oscar Wao, who’s Dominican cultural and family expectations were major obstacles as they struggled to establish their identity.

Gary’s Soto “Mexicans Begin Jogging,” describes an event that happened when he worked in a factory where illegal Mexican workers were employed. Although the poem is simple, Soto brings identity, ironic, drama, and imagery to his audience. The narrative reflects irony the speaker went through and the dilemma that Mexican Americans go through. The poems tone is ironic and not taking too seriously.

Soto concludes his narrative with expressing how the guilt of his sin finally setting in by describing the paranoia he experienced and him no longer being able to hear God in the pipes, revealing his shame for having stolen and eaten the pie. “A car honked, and the driver knew. Mrs. Hancock stood on her lawn…and she knew. My mom…knew.” The repetition of “knew”, of people knowing about his sin, indicates how Soto is coming to face the truth of his wrongdoing; Soto divulges how his six-year-old self is feeling, consumed in guilt-induced paranoia, believing that everyone he sees knows what he’s done when in reality, he was undiscovered in his crime. In contrition, the child crawls underneath the house to be with the pipes, within which he believes

In the poem “Behind Grandma’s House,” written by Gary Soto, a young boy struggles to behave and suppress outbursts of bad behavior. “In the alley, kicking over trash cans,” (li. 6). The boy practically terrorizes the rest of his neighborhood. “And wanted to prove I was tough” (li. 5). The boy wants to prove he is tough to compensate for something he is lacking on the inside. Emotionally the boy lacks something, he tries to make up for this by creating an outward appearance of roughness. Terrorizing his neighborhood is public confirmation of his rough and tough act. The boy’s grandma has a solution to his bad behavior. “Her hair mussed, and said, ‘Let me help you,’/And punched me between the eyes” (li. 20-21). The boy’s grandma turns to hard

Juan Francisco Manzano was slave in the country of Cuba in the 18th century. In the year 1797 he was born into slavery from slave parents and would remain a slave for the majority of his life. With all odds against him he was able to become very knowledgeable, like tailoring, writing, reading and writing poetry, with minimum resources that he acquired. Any opportunity that came his way to expand his knowledge he would take full advantage of it and practice until it was up to standards. But his main objective was to become a free slave, which was a rejected idea by his mistress. After his hard work of being a poet and being recognized by others of the time he was able to receive his freedom. Of course this couldn’t be done without the help of Del Monte, who bought Manzanos freedom. As a result from the help of Del Monte, Manzano was insisted by Del Monte to write an autobiography. With much fear and insecurity Manzano wrote his autobiography.