In Fiesta 1980, Diaz creates a main character who narrates the issues occurring in the present. I think that Diaz tried to show Yunior’s point of view in order to illustrate his story and no other side for the reader to understand. It seemed that Yunior had enough maturity to understand family loyalty, but he was hesitant towards honesty. There were some flashbacks throughout the story which served the purpose to enlighten the readers of few incidents that have affected Yunior in past and are still very vivid to him. In my opinion, this story has too many connections to the real world. Yunior and his siblings are scared of their papi, because his papi is violent. He has harmed his kids too many times, but readers understand that Yunior loves
his papi and wishes those feeling to be reciprocated towards him. As well as the fact that Yunior hid the truth about his papi’s affair, with some Puerto Rican woman, from his mami because Yunior didn’t want to see his mami without his papi. A good quote from this story is “Suddenly I wanted to go over and hug her, for no other reason than I loved her…” because it is a statement that is filled with emotion and so much love that Yunior feels towards his mami. However, his loyalty towards his family shows his maturity and his love towards his family members. It is outstanding that his loyalty stays because the way his brother and his papi treats him is very malicious. In conclusion, Yunior’s loyalty and his love towards his family is inspiring. There’s too many relations of this story to the real world because some fathers have similar attributes to Yunior’s papi.
Martinez’s story is not so much one that pieces together the events of the crash, nor the lives of the three youths, but it is an immigrant’s tale, discovered through the crossings of the various Chavez family members and profiles of Cheranos in Mexico.
Throughout the passage from “Roberto Ignacio Torres Bakes” and the passage from “The Dreamer,” Papi and Neftali change. Both of these characters had dreams that they ignored at first, but then embraced. Papi, a character from “Roberto Ignacio Torres Bakes,” dreamed of becoming a baker, while Neftali, a character from “The Dreamer,” dreamed of becoming a poet. Both of these characters are dynamic and they evolved throughout the passage.
I really enjoyed all of the characters and this book tremendously. Both Lupe's and Juan's mother were very strong and God fearing women. They had a very strong bind between their children who were taught values and morals. This book made me want to know my ancestral routes and learn more about my culture. Since this book was a true story about Victor Villasenor's family, it made the stories even more real. I would recommend this book to everyone who loves to read.
What exactly does Aztlan mean? There are various definitions, such as the ancestral homeland of the Aztec people and their descendants or everyone’s individual Aztlan which is ones’ personal sanctuary. A place one creates in their own image consisting of features that show what kind of person they are, while at the same time still recognizing their ethnic culture. We all have this place though not everyone’s is the same. Your hobbies, interests, the way you dress all make up this special place. Without it, we would be metaphorically lost. For example, in the essay “Refiguring Aztlan”, it says, “Through Aztlan we come to better understand psychological time, regional make up, and evolution. Without any one of these ingredients, we would be contempo-rary displaced nomads, suffering the diaspora in our own land, and at the mercy of other social forces. Aztlan allows us to come full circle with our communal background as well as maintain ourselves as
Reymundo was born in Puerto Rico in 1963 in the back of a 1957 Chevy. His mother was married at age sixteen to a man that was seventy-four years of age. Reymundo’s father died when he was almost five years old, therefore he does not have much memory of the relationship that they had. Reymundo has 2 sisters with whom he did not have a relationship with, one sister would always watch out for him, but that was about it. After the death of Reymundo’s father, his mother remarried a guy named Emilio with which she had a daughter for. After Emilio, Pedro came in to the picture with his son Hector. Pedro was an illegal lottery dealer and Hector sold heroin.
“Papi pulled me to my feet by my ear. If you throw up— I won 't, I cried, tears in my eyes, more out of reflex than pain” (307). As this scenario presents violence, it displays innocent Yunior’s response towards his abusive father as he pulls Yunior’s ears. In the short story Fiesta 1980, Junot Diaz depicts the life of young Yunior as he struggles with his Dominican family issues. Yunior was picked on the most in the family, especially from his dad. As Poor Yunior was the victim of his dad’s affair with a Puerto Rican woman, it affected him psychologically. Yunior suffers from the fact his beloved mother is being cheated on; therefore, he vomits as he rides his dad’s van, as his first ride in the van is linked to his first meeting with
In Junot Diaz’s The Brief Wondrous Life of Oscar Wao, he is telling the story of a Dominican family but mainly about the son, Oscar de Leon. The book opens with the story of Oscar as a child and him having two girlfriends at the same time. The older people in town see him as a ladies man and encourage him. The boy and the two girls all break up and his life seemed to be on a steady decline since then. He grows up to become a nerdy, fat, and awkward adolescence with few friends and even less interest from girls. This phase persists throughout his life and he never develops out of the nerdy boy he was as a child. The Dominican Republic was a hostile and poor place during the time of the novel. The dictator Trujillo controls the lives of the people in the country. This influenced the de Leon family’s present and future. Diaz develops the story by using the superstition, the cane field, and male dominance of the Dominican men
Diaz uses the characterization of Yunior to show that he may not he's isolated himself from loyalty and having good relationships with people as well. Yunior is a character portrayed as a true dominican male because he is good with women. In chapter 6 on page 269 Yunior got lola
Junot Diaz displays in his short story “Fiesta” how an abusive father can cause a family
Throughout the story there is evidence that the main character is ashamed of himself and his background. He hides the government cheese, which tells us that he is in a low economic class. He also takes down embarrassing photographs of his family and himself, which is more indication that he isn’t proud of his family, background, or heritage. Yunior also tells us many things to do in order to be like other people, especially white people. He tells us that you need to run your fingers through your hair and to write directions for parents in your absolute best handwriting (Diaz 236). It is also evident that he is ashamed of his background when he states “You’ll wonder how she feels about Dominicans. Don’t ask.”(Diaz 237). Also, when he is telling the girl stories about the neighborhood, he says not to tell her that his mother knew immediately what t...
Junot Diaz’s “Otravida, Otravez” postulates a perspective of life where one’s present and future always reflects their past in some way. Diaz incorporates symbolic figures to convey how a person’s past can be carried into the future. Diaz’s use of symbolic figures includes the dirty sheets washed by Yasmin, the letters sent by Virta to Ramon, and the young girl who begins working with Yasmin at the hospital. These symbolic figures and situations remind the readers that the past will always play a major role in one’s present. Additionally, Diaz’s word choice, where Spanish words appear in many different parts of the reading, suggests that indirectly, one’s past habits are not easily broken.
The eternal endeavor of obtaining a realistic sense of selfhood is depicted for all struggling women of color in Gloria Anzaldua’s “Borderlands/La Frontera” (1987). Anzaldua illustrates the oppressing realities of her world – one that sets limitations for the minority. Albeit the obvious restraints against the white majority (the physical borderland between the U.S. and Mexico), there is a constant and overwhelming emotional battle against the psychological “borderlands” instilled in Anzaldua as she desperately seeks recognition as an openly queer Mestiza woman. With being a Mestiza comes a lot of cultural stereotypes that more than often try to define ones’ role in the world – especially if you are those whom have privilege above the “others”.
To help me understand and analyze a different culture, I watched the film Selena. The film tells the life story of the famous singer Selena Quintanilla-Pérez. Not only does it just tell personal stories from her life, it also gives insight to the Mexican-American culture. Her whole life she lived in the United States, specifically in Texas, but was Hispanic and because of that both her and her family faced more struggles than white singers on the climb to her success. Even though the film is a story about a specific person, it brought understanding into the culture in which she lived. Keeping in mind that these ideas that I drew about the Mexican-American culture is very broad and do not apply to every single person in the culture, there were very obvious differences in their culture and the one that I belong. Mexican-American culture identifies with their family rather than individualized or spiritual identities and the culture has gone through significant changes because of discrimination and the changing demographics of the United States.
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.
I knew once Arturo lost his job it was likely the Rivera family would end up going back to Mexico. However, I kept hoping that they would not. I kept hoping that he would find another job or they would find some other way to legally stay in Delaware. I kept hoping things would get better for them, especially Maribel. When Arturo died, I realized that this was unrealistic. At that point, they had no money, no source of income, nowhere to stay, and were likely to be deported by the authorities anyways. It was inevitable that they would end up back in