Quotable: Junot Díaz
Yesterday was the start of the winter quarter at UC, and, as a warm-up exercise for my first class, I used this writing prompt: “an affair has been discovered.” The point is to get students to think about who is telling the story (the cheater? the cheated-upon, the cheated-with?), the details of the discovery (how was the affair revealed? a nosey neighbor? a jealous husband?), the purpose of the story (is it a simple confession? a plea for forgiveness? a justification? a piece of gossip one character shares with another?), and its intended recipient (a priest? a divorce lawyer? one of the people involved in the affair?). These kinds of choices can have a significant effect on the shape of the narrative. A great example is Junot Díaz’s story “The Sun, The Moon, The Stars”:
I’m not a bad guy. I know how that sounds—defensive, unscrupulous—but it’s true. I’m like everybody else: weak, full of mistakes, but basically good. Magdalena disagrees. She considers me a typical Dominican man: a sucio, an asshole. See, many months ago, when Magda was still my girl, when I didn’t have to be careful about almost everything, I cheated on her with this chick who had tons of eighties freestyle hair. Didn’t tell Magda about it, either. You know how it is. A smelly bone like that, better off buried in the back yard of your life. Magda only found out because homegirl wrote her a fucking letter. And the letter had details. Shit you wouldn’t even tell your boys drunk.
The thing is, that particular bit of stupidity had been over for months. Me and Magda were on an upswing. We weren’t as distant as we’d been the winter I was cheating. The freeze was over. She was coming over to my place and instead of us hanging with my knucklehead boys—me smoking, her bored out of her skull—we were seeing movies. Driving out to different places to eat. Even caught a play at the Crossroads and I took her picture with some bigwig black playwrights, pictures where she’s seen smiling so much you’d think her wide-ass mouth was going to unhinge. We were a couple again. Visiting each other’s family on the weekends. Eating breakfast at diners hours before anybody else was up, rummaging through the New Brunswick library together, the one Carnegie built with his guilt money. A nice rhythm we had going. But then the Letter hits like a Star Trek grenade and detonates everything, past, present, future. Suddenly her folks want to kill me. It don’t matter that I helped them with their taxes two years running or that I mow their lawn. Her father, who used to treat me like his hijo, calls me an asshole on the phone. “You no deserve I speak to you in Spanish,” he says. I see one of Magda’s girlfriends at the Woodbridge Mall—Claribel, the ecuatoriana with the biology degree and the chinita eyes—and she treats me like I ate somebody’s kid.
You don’t even want to hear how it went down with Magda. Like a five-train collision. She threw Cassandra’s letter at me—it missed and landed under a Volvo—and then she sat down on the curb and started hyperventilating. “Oh, God,” she wailed. “Oh, my God.”
This is when boys claim they would have pulled a Total Fucking Denial. Cassandra who? I was too sick to my stomach even to try. I sat down next to her, grabbed her flailing arms, and said some dumb shit like “You have to listen to me, Magda. Or you won’t understand.”
Here, the narrator begins with a pre-emptive defense (“I’m not a bad guy”). But he is aware that this defense itself might be incriminating (“I know how that sounds”), so he provides some justification for his actions as well (“I’m weak.” “I”m like everybody else.”) Then he gives his girlfriend’s opinion, which he ties to a stereotypical view of all Dominican men—a clever way of giving us Magdalena’s side of the story while also retaining our sympathy. This very delicate balance is maintained for the remainder of the story, when the narrator, Yunior, takes Magdalena with him to Santo Domingo, where they try to patch up their relationship and where, of course, nothing goes as planned.
The story originally appeared in The New Yorker and was anthologized in Best American Stories 1999.
Photo credit: Blogamole.