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This introduces the central theme of the storythat the intended reader must act differently depending upon the race and social class of the person he is courting.Thus, Diazs instructions fly in the face of the age old, objective, parental wisdom of just be yourself and highlight the way in which race/class constructs and expectations make such advice impossible to heed.He’s not just an energetic stylist who expertly moves between high-literary storytelling and fizzy pop, between geek culture and immigrant life, between romance and high drama.
On May 19, 2012, I met over breakfast with Junot Díaz; we were both attending a two-day symposium about his work at Stanford University.
The resulting conversation, touched on Díaz’s concern with race, his debt to the writings of women of color, and his fictional explorations of psychic and emotional decolonization. Moya: I was so pleased when, during your lecture yesterday, you stated—clearly and unapologetically—that you write about race.
“Leti had some serious tetas,” Yunior notes approvingly of one girl in “Fiesta, 1980,” and someday scholars of Díaz’s mamis will etch that phrase in stone on a statue in Bergen, NJ.
Díaz’s commercial breakthrough, , was also his breakthrough in lady-describing.
This failure of imagination worsens Yunior's mistreatment of his romantic partners, whom he betrays serially and without flinching.