Look, he was saying about Trujillo, that guy was so bad that nobody will ever be able to understand his reign objectively, so why bother? Have some extreme subjectivity, and humor. A dry spell in his sex life isn’t just a dry spell, it’s “fucking Arrakeen.” You’ve always liked this, not only because it engages you-the you who read Grant Morrison’s writing stint on JLA in the individual issues-but also because it signals that he is reporting from a very personal place. Staying with Yunior’s voice, and only Yunior’s voice, can feel a bit claustrophobic, but at least that nerd-speak is back. When he compared Rafael Trujillo to Sauron, or Galactus from the Fantastic Four, you believed it. Like Lose Her, it jumped around in time, but the arc and the large and varied cast of narrators led to a feeling of epic scale. Wao was about the Dominican Republic, the whole country and everyone in it. When you got to that one, you couldn’t help but remember how big Wao was. Only one story isn’t about him, the one about a hardworking laundrywoman who does her best not to think about her lover’s family back in Santo Domingo as she and the lover look at houses together in New Jersey. Díaz’s first book of stories, Drown (and you have no reason to think otherwise, since they’d all still be ciphers, even if they were separate characters). You always found him to be a bit of a cipher-assuming he’s the same Yunior from Oscar Wao and Mr. You have to be honest: you were never that enthusiastic about Yunior. He works on a science fiction book set in the 1980s. Díaz’s fictional alter ego, who in Lose Her watches his brother Rafa die from cancer, sleeps around, remembers the first time he ever saw snow.
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