Junot Diaz's How To Date A Brown Girl, White Girl

What does it mean to you to be a black girl? If you aren’t one, what do you see when you visualize a black girl? If your imagination limits you to just an afro-centric featured, loud and slang-loving, uneducated woman, then this piece is addressed to you. The persistence of the stereotypes concerning average black girls have chained us all to the earlier listed attributes. One side effect of this dangerous connection is the wide opening for a new form of discrimination it creates. Whether it is depicted through slave owners allocating the preferable duties to lighter-skinned black woman, or in modern times where a dislike in rap music categorizes you as not really black, segregation within black communities occur. Tracing all the way back to elementary school, my education on the subject of racial segregation has been constricted to just the injustices routed by dissimilarities between racial groups. What failed to be discussed was the intragroup discrimination occurring in the black society from both outside observers and inside members. Unfortunately, our differences in the level of education, in physical appearance, and in our social factors such as our behaviour, personality or what we believe in have been pitted against each other to deny the variety of unique identities that we as black individuals carry.

The author of “The Black Beauty Myth” Sirena Riley has encountered multiple experiences concerning body image throughout her life. At a young age, she started to feel the pressure to have a perfect body. The struggle of making herself perfect ultimately lead to eating disorders for instance, bulimia and compulsive exercising. In her journey from a young age to her college years she has learned better ways to deal with negative body image through therapy. In her article, she states “I was in three body image and eating disorder groups with other young women on my campus. I was always the only black woman.” (Riley 2002, 229) This quote supports her belief that black women have body image issues but are not open to seeking help or expressing

I was particularly interested in Camille Dungy’s “Tales from a Black Girl on Fire, or Why I Hate to Walk Outside and See Things Burning” which we read from the book Colors of Nature Culture, Identity, and the Natural World. I thought that our discussion in class of her poem was quite good, and realized it was something I wouldn't mind thinking a little bit more about. As I reread the poem, I found a few sentences that I still didn't quite understand what she meant by. In light of this, I have decided to write on what I believe to be her meaning. I wasn't sure why the fear of walking outside didn’t hit her until she moved to an old plantation sate. Why would it take up until then if she had been hearing her families history her entire life?

In a scene from the film, Selena, Selena Quintanilla-Pérez, a Mexican-American singer, is ignored by a white sales woman. The sales woman judges Selena on the color of her skin, determining her social status as one unimportant to her business, not realizing that Selena was actually a celebrity. Just as the sales woman predetermined a role for Selena rooted by race and ethnicity, Waretown High maintained class, gender, and race stereotypes in determining girl’s futures and outcomes. Julie Bettie’s Women Without Class discusses these stereotypes through expectations set for las chicas and the preps by the school, families, and themselves, the exclusion of hard-living students, those whose families were low income, and the ability for some girls to become upwardly mobile as an exception to the rules.

The short story “How to Date a Browngirl, Blackgirl, Whitegirl, and Halfie” by Junot Diaz is the main character, Yunior’s, guide to dating girls of different races and the ways to act in order to get what you want from them. The only thing Yunior seems to want for these girls is sexual acts. This short story argues that a person’s heritage, economic class, and race affect how a person identifies themselves, and how their identity affects how they act towards other people. The pressures a person may feel from society also has an effect on how a person treats themselves and others. The pressure and expectations from society are also what makes Yunior think he needs to have sex with these girls. There are many different occasions of the main

In the short story “How to date a Browngirl, Blackgirl, Whitegirl, or Halfie” Junot Diaz

He starts of the story with the setting of his house and how he is preparing for his first date to arrive. He is doing extraordinary preparations to impress the girl he is currently dating. As he is explaining how to prepare for the date he gives simple suggestions such as “If she’s an outsider her father will be bringing her, maybe her mother” (page 178). This is stating that the girl will not be urban or Hispanic since she is considered an outsider. He is also giving a hint that he has to act differently because the young lady is from a different cultural background. Diaz also gives the acquisition in his quote “If she’s a whitegirl you know you’ll at least get a hand job” (page 178). Which implies that every white girl gives hand job which is a simple stereotype that Diaz might have heard from his friends or believing this from an experience he has

In How to date the narrator is waiting for a girl to come over to his house. While he was waiting he said, “(...) usually the out-of-towners are black, black girls who grew up with ballet and girl scouts, who have three cars in their driveways” (Diaz 2). This quote is talking about how the narrator thinks a woman's life is based on her color. In the quote the narrator said that, “usually the out-of-towners are black.’ This is stereotypical because, he is just assuming that she will be from out of town because she is black. He also assumed that she grew up with ballet and girl scouts. Everything that the boy said are stereotypical towards females of a darker color. This quote is showing how minorities stereotype other minorities and how the narrator judged the girl based on stereotypes that he learned at school or in the street. Just like the mexican stereotypes they were both given to them based on what people see from the outside not by how someone is on the inside. People using the stereotypes to assume how someone is is not good because they never learn how the person is on the inside. They just assume

As David Blight says in his novel, Race and Reunion, after the Civil War and emancipation, Americans were faced with the overwhelming task of trying to understand the relationship between “two profound ideas—healing and justice.” While he admits that both had to occur on some level, healing from the war was not the same “proposition” for many whites, especially veterans, as doing justice for the millions of emancipated slaves and their descendants (Blight 3). Blight claims that African Americans did not want an apology for slavery, but instead a helping hand. Thus, after the Civil War, two visions of Civil War memory arose and combined: the reconciliationist vison, which focused on the issue of dealing with the dead from the battlefields, hospitals, and prisons, and the emancipationist vision, which focused on African Americans’ remembrance of their own freedom and in conceptions of the war as the “liberation of [African Americans] to citizenship and Constitutional equality” (Blight 2).

This story is written in the nineteen eighties, an era filled with racial and sexual evolution. By the mid- '80s, Jim Crow laws had been dead for two decades -- a full generation. Mid- '80s culture had also been redefined by social movements such as civil rights and feminism. The eighties was an era of female empowerment and African American equality. Although Jim Crow laws, which hindered racial equality, have been null for two decades, romantic relationships between multiple ethnicities is still not widely accepted. The story begins describing the weather “It was the third day of an August heat wave” (71). It

White privilege is the societal privileges that specifically benefit white people. White privilege is why white people can get pulled over by the police and escape a ticket with just a smile and apology. White privilege is also why whites are in charge of a company and they see a black person, they bypass the application. Whites carry a certain privilege not available to people of color. Marilyn Frye describes how whiteness is a form social and political power.

Every red-blooded American male reaches a zenith in his life when he has finally joined the company of men, and been deemed worthy to receive a lifetime of collected wisdom and tutelage from his elder “packmates”. This knowledge comes in both lewd and often brutally honest sentiments that can induce feelings of excitement and unabashed shame, but regardless of the emotions evoked, it is a necessary rite of passage signifying a young man’s entrance into the world of his peers. This transformation and the hesitance involved is masterfully scripted in Junot Diaz’s “How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie”. The dialogue

An individual’s identity is strongly influenced by their ethnic background and the environment that surrounded them. Due to this, a majority of the world will perceive a person differently and create stereotypes, which then compels them to treat others differently in order to accommodate to that person. In Junot Diaz’s instructional manual, “How to date a brown girl (black girl, white girl, or halfie)”, he depicts different scenarios of dates in the perspective of a boy who is Latino and from the Terrace, a ghetto neighborhood. He talks about the different ways to treat a girl based on their race and what neighborhood they came from, as well as the various reactions each kind of girl will make. He categorizes an insider as Latino or someone

Audre Lorde was born in New York City the 18th of February 1934 of Caribbean immigrants. As a child, the author had difficulties in communication that made her acknowledge poetry and its power as a form of expression, allowing her to become a writer, a feminist, and a civil rights activist. Which is very strong in “Age, Race, Class, and Sex” in which the author describes her feelings using a style of superior journalism with elements of popular culture that leads to racial issues. In order to emphasize more her sociological argument, Lorde uses personal experience as ethos. “As a forty-nine- year- old Black lesbian feminist socialist, mother of two including one boy, and member an inter- racial couple, I usually find myself a part of some group defined as other, deviant, inferior, or just plain wrong”(Lorde, 114). Audre Lorde strength is in her inferiority and points out very actual issues such as: distortion of relationship between oppressor and oppressed and the misnamed differences that still leads to racism.

“…And this is for colored girls who have considered suicide but are moving to the end of their own rainbow…” (Perry: For Colored Girls, 2010). For colored girls was first written and performed as a play by Ntozake Shange in 1977. It was then called “for colored girls who have considered suicide when the rainbow was enuf”. Tyler Perry adapted and transformed it into a movie in 2010. For colored girls is centered on nine women as they encounter their fair share of neglect, abuse, pain and harassment both physically and emotionally. They slowly but surely recover from such abuse and discover joy in themselves. The movie begins with the characters as strangers but at the end, they become good friends.