Marginalizing Yunior's Footnotes

In the book Alvarez informs us that this takes place during Trujillo 's reign over the Dominican Republic in the 1930’s to the 1960’s. Throughout history dictators have risen and fallen all across the world. Many have been seen as evil, and sometimes good to others, but no matter what a persons view tend to be there are some who even consider them god. Due to a dictators extensive powers and complete control over every aspect of a persons life this is what comes to be. Trujillo is just the same, at first his true motives were questioned and it wasn’t apparent to all what he really was. As the Mirabel sisters grow up it becomes clear that Trujillo is in control of more of their lives than it may seemed. Trujillo leads a complete authoritarian rule over the Dominican Republic with spies everywhere, this can suggest that he trying to assume the role of a terrible god, who is always watching and ready to punish. While all

The Brief Wondrous Life of Oscar Wao is not a happy book. The Author, Junot Diaz, does a great job fooling the reader into believing the story is about the De Leon family, specifically Oscar who is an over weight nerd trying to find the love of his life, but due to a family “fuku” or curse Oscar is having a lot of trouble doing so. Instead, the story actually portrays the dark history of the Dominican Republic under the dictatorship of Rafael Trujillo. Upon reading the stories of Oscar’s relatives the reader feels a powerful message of fear and oppression due to the actions of the Trujillo regime. Even after the demise of

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 this essay, female oppression in La Casa de Bernarda Alba will be discussed and analyzed. However, in order to be able to understand the importance of this theme and the impact it has had on the play, one must first understand the role of female oppression in the Spanish society in the 1930s.

It is not just the language of the Dominican culture that we find characters struggling to hold onto in Díaz’s Drown. We also find that the characters walk a fine line of defining themselves as newly Dominican American, and it seems they feel pressured to leave behind their old ways and traditions to join their new society. In the short story “Fiesta, 1980,” we find many examples of the family being torn between their Dominican customs and assimilating to their new American life. This story begins with the explanation of Papi’s most prized possession: a brand-new, lime-green, Volkswagen van. Much to Yunior’s chagrin (due to the fact that he gets sick every time he rides in the vehicle), this van means a lot to Papi, because to him, it represents an American family. According to John Riofrio (2008), “it[the van] is the embracing of the American way which has reenabled Papi’s masculinity,” (p. 33). After arriving at their Tia and Tio’s home for the party, Yunior sneers at his relatives’ apartment stating, “the place had been furnished in Contemporary Dominican Tacky” (p. 32). It seems as though Yunior, after only a short period in America, is already feeling embarrassed by his culture’s traditions. This chapter of the book also discusses the betrayal of Yunior’s father to his family, by having an affair with a Puerto Rican woman, whom

You can see how Maria’s El Salvador is empty of people, full only of romantic ideas. Jose Luis’s image of El Salvador, in contrast, totally invokes manufactured weapons; violence. Maria’s “self-projection elides Jose Luis’s difference” and illustrates “how easy it is for the North American characters, including the big-hearted María, to consume a sensationalized, romanticized, or demonized version of the Salvadoran or Chicana in their midst” (Lomas 2006, 361). Marta Caminero-Santangelo writes: “The main thrust of the narrative of Mother Tongue ... continually ... destabilize[s] the grounds for ... a fantasy of connectedness by emphasizing the ways in which [Maria’s] experience as a Mexican American and José Luis’s experiences as a Salvadoran have created fundamentally different subjects” (Caminero-Santangelo 2001, 198). Similarly, Dalia Kandiyoti points out how Maria’s interactions with José Luis present her false assumptions concerning the supposed “seamlessness of the Latino-Latin American connection” (Kandiyoti 2004, 422). So the continual misinterpretations of José Luis and who he really is and has been through on Maria’s part really show how very far away her experiences as a middle-class, U.S.-born Chicana are from those of her Salvadoran lover. This tension and resistance continues throughout their relationship.

Demetria Martínez’s Mother Tongue is divided into five sections and an epilogue. The first three parts of the text present Mary/ María’s, the narrator, recollection of the time when she was nineteen and met José Luis, a refuge from El Salvador, for the first time. The forth and fifth parts, chronologically, go back to her tragic experience when she was seven years old and then her trip to El Salvador with her son, the fruit of her romance with José Luis, twenty years after she met José Luis. And finally the epilogue consists a letter from José Luis to Mary/ María after her trip to El Salvador. The essay traces the development of Mother Tongue’s principal protagonists, María/ Mary. With a close reading of the text, I argue how the forth

Patria is exposed to the truth that Trujillo was not the god-like entity she perceived him to be. In Patria’s mind there is no separation between god and Trujillo; they are one. Patria is finally coming face to face with the problems within the Dominican Republic. This revelation foreshadows how Patria will become involved with the regime and what part she might play.

Likewise, another factor that assists in Trujillo’s persistent control of the Dominican Republic is his abuse of power. Rules are restrictions and too many rules lead to the entrapment of citizens. Julia Alvarez specifically utilizes the word “weakness” to portray the character trait that the majority of the citizens possess. In the word “weakness,” one thinks about not-strong and lack of courage. In essence, no one has the courage to stand up to Trujillo. For example, we see the common trait through the quote, “People who opened their big mouths didn’t live very long.”

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.

The Underdogs by Mariano Azuela is arguably the most important novel of the Mexican Revolution because of how it profoundly captures the atmosphere and intricacies of the occasion. Although the immediate subject of the novel is Demetrio Macias - a peasant supporter of the Mexican Revolution -, one of its extensive themes is the ambivalence surrounding the revolution in reality as seen from a broader perspective. Although often poetically revered as a ‘beautiful’ revolution, scenes throughout the novel paint the lack of overall benevolence even among the protagonist revolutionaries during the tumultuous days of the revolution. This paper will analyze certain brash characteristics of the venerated revolution as represented by Azuela’s

True masculine force goes back, in family stories from the Dominican Republic, with Trujillo's dictatorship shaping manhood perception in the Dominican culture. Oscar is incapable of rising to male-standard imposed by

Have you ever encountered a ghost, alien, mermaid or anything you couldn’t explain or didn’t understand? Whenever the unknown makes an appearance, as the living, we never know what's real from fantasy. Also meaning that we have no control over these unknown, supernaturals; they simply exist and freely enter and exit our lives as they choose. Diaz includes several different supernatural elements throughout his novel, and all of these elements are connected, in some way, to the infamous dictator Trujillo. Diaz utilizes these motifs in order to communicate that for the people in the Dominican Republic there is always someone or something that’s in control, and can never be defeated or fully understood.

“Cane” again serves as a dominant image in this section, as it does in section 1. Yet the phantasmal sugarcane of section 1 becomes, in section 2, the mother’s walking cane “planted” by Trujillo at her grave and perceived by him to flower every spring. When Trujillo hears the workers mispronouncing “Katarina,” a local mountain, as “Katalina,” he perceives this as an affront to his dead mother, who, he says, “was no stupid woman” and “could roll an R like a queen.” Remembering the parsley sprigs that the men of his village wore to signify newborn sons, the general closes his equation of desire and death begun when the parrot opened the poem: He orders the Haitians “to be killed/ for a single, beautiful word.”

The story uses both situational and dramatic irony by bringing Juan to his demise, by his own hand, and revealing early on to the audience Juan is caught, while juan is unaware in the story. Luisa Valenzuela also depicts the Argentinian government as an ominous, unstoppable force that always wins in the end, as despite Juans plan, and dedidcation, as noted in the story, top of page 114, most fail to beat the system, and even when they do, the government still wins. The story depicts how the Argentinians restrictive governing sparks in people a every person for themselves mentality, as Juan reports his colleagues, and "pitilessly [chucks] many letters into the censored basket,"(114) having no regard for the people he steps on to acheivethis