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The Brief Wondrous Life Of Oscar Wao Summary

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Words 528
Pages 3
Jessie Sisavat
Professor Duarte
Hispanic USA
04/13/15
Book Review
The novel of The Brief Wondrous Life of Oscar Wao was about a Dominican child who is addicted with pretend fictions, imaginary stories, romance and curses that have been hunting his family for many generations. The book is based upon the story-telling of identity, governmental oppression and being able to handle the masculinity pressure as a Dominican.
The statement that Diaz made about “You can’t tell the history of the U.S without the history of the Dominican Republic” gives a sense of pride being a Dominican. The reason for this is based on the experiences of the crucial reality of being controlled by a dictator. In the early years of Trujillo, he was trained in the United States marine and was elevated to commander or general. I think Diaz sees it has a disgrace how the United States trained a monster such as Trujillo that it is considered a disgrace in his eyes. It looks like Diaz does follow the Americanization aspect however he doesn’t want to admit he is portrayed as a Dominican- American. …show more content…
Belicia, the mother of Lola made many distinguish of what she wanted her daughter to do, However Lola seem to be the head of the household because her mother and little brother Oscar cannot fulfil that duty as the decision maker in the household. In the book “From out of the shadows” she reveals how women play a major role in representing Hispanic women from being in a life filled with domestic issues to joining in a workforce. Dr. Ruiz compares the American women of being self-reliable in the real world comparison to Hispanic women that wants to intervene within its family household to improve their love ones

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(Arthur Ashe). In Junot Díaz’s novel The Brief Wondrous Life of Oscar Wao, Oscar de León, the novel’s tragic hero and helpless romantic, trudges through life as an atypical Dominican—“he wasn’t no home-run hitter or a fly bachatero, not a playboy with a million hots on his jock” (Díaz 11)—until he, contentiously, is the first to beat Rafael Leónidas Trujillo Molina’s fukú americanus. Two distinctly different caricatures of the true hero have been drawn by society, each sanctified by Hollywood films in its own right: the “superhero” who retains esoteric powers and uses these for the...

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