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While Yunior remains the narrator, his tone becomes far more casual as he recounts his own involvement with the de León family. Yunior meets Lola during their freshman year at Rutgers-New Brunswick. The following year, they have a three-night romantic fling that she ends because she has a boyfriend. They remain friends, however, and in 1988, when Yunior is jumped by some townies and badly beaten, Lola is the only one who comes through for him, cooking and cleaning as he recovers from his injuries. Thus, he feels he owes her a debt.
At the end of that semester, Yunior hears that Lola’s brother, Oscar, almost killed himself over a girl by drinking two bottles of 151. To Lola’s great surprise, Yunior offers to live with Oscar in Demarest Hall to keep an eye on him while she studies abroad in Spain.
Despite the fact that they are both creative writing students, Yunior and Oscar have almost nothing in common. Yunior is a weightlifter who can bench 340 pounds and who regularly dates two or three women at a time. Oscar, meanwhile, remains isolated, unable to attract women, and overweight—he is now over 300 pounds. At this point, Oscar writes 15-20 pages of science fiction and fantasy a day, amassing five novels total so far. While Yunior doesn’t care much for these genres—his writing generally focuses on drug dealers and robberies—he can tell that Oscar is an immensely talented writer.
When Yunior’s girlfriend discovers his infidelity and dumps him, he throws himself into a new project: fixing Oscar. Genuinely touched by the offer, Oscar agrees to do everything Yunior tells him to do. The next morning at six a.m., Yunior takes Oscar jogging. Despite the pain and the constant jeers from onlookers, Oscar runs with Yunior four days a week. Yunior also encourages him to stop approaching women he doesn’t know and professing his love for them
One day in the middle of a run, Oscar stops and says he refuses to run anymore. After three days of verbal prodding, Yunior tries to physically force Oscar to get up from his desk to join him for a run. Oscar shoves him, and Yunior shoves him back, slamming him into the wall. Two days later, Lola calls from Spain. They argue. Yunior tells her, “Fuck off,” and Lola says she never wants to speak to him again.
From then on, Yunior and Oscar mostly stay out of each other’s ways. When Yunior sees Oscar dressed as Doctor Who on Halloween, Yunior mocks him with an anti-gay slur, adding that he looks like Oscar Wilde. Yunior’s friend mishears this as “Oscar Wao,” and from then on, everybody calls him that.
Later that semester, Oscar falls in love with Jenni Muñóz, a beautiful “Puerto Rican goth” who lives in Demarest and who rejected Yunior’s advances earlier that year. Despite receiving numerous rejections of his own from Jenni, a persistent Oscar continues to pursue her. By February, the two of them are friends. One day, Yunior even comes home to see Jenni and Oscar sitting in his room talking. Although he is fairly certain their relationship isn’t sexual, Yunior nevertheless begrudges Oscar. He writes, “[I]n other words, I was a player-hater. Me, the biggest player of them all” (185).
Then one day, Jenni loses interest in Oscar as she starts to spend more time with a tall punk kid from another dorm building. Rather than mope for a week then move on like he normally does, Oscar experiences lingering depression; he even stops writing. Two weeks later, Oscar walks in on Jenni and the punk kid having sex. In a rage, Oscar calls her names and trashes her room until someone fetches Yunior, who runs upstairs and puts him in a headlock. The school relocates Jenni to another resident hall, and Oscar is prohibited from visiting the women’s dormitories. At the end of the year, Yunior enters the housing lottery and wins a single room in another building.
On their last night together in Demarest, Oscar drinks two bottles of Orange Cisco, a very potent, now-discontinued alcoholic beverage. Rather than stay with him, Yunior leaves to meet up with a woman. He writes, “I guess I knew I should have stayed with him. Should have sat my ass in that chair and told him that shit was going to be cool, but it was our last night and I was fucking tired of him” (189).
After Yunior leaves, Oscar drinks another bottle of Cisco and wanders to the New Brunswick train station. He walks along the tracks until he is on a bridge 77 feet above Route 18. Later, Oscar recalls seeing a golden mongoose at this moment. When the mongoose disappears, Oscar jumps off the bridge. Rather than land 77 feet below onto the concrete, he lands on a garden divider. He wakes up in the hospital with two broken legs, sees Belicia and Yunior, and starts crying. When Lola arrives a day later from Spain, she upbraids Yunior: “Why didn’t you take care of Oscar? Why didn’t you do it?” (192).
Around Christmas of that year, Yunior runs into Lola on the bus. Thinking this might be his last chance with her, Yunior pulls an “Oscar” and asks Lola to dinner. They go to her house, and as he gives her oral sex, she pulls him up and makes him promise that he won’t lie to her. He agrees. The next semester, Yunior moves back in with Oscar.
Chapter 4 is marked by a significant shift in the style of the narration. In the first three chapters, Yunior adopts the voice of a semi-omniscient narrator modeled off the Marvel character Uatu. While not all is known to him, he comments on the unfolding action with a measure of detachment, like an alien watching over planet Earth from afar. Here, however, there is no detachment. The narrator explicitly announces himself as Yunior, Lola’s off-on partner and Oscar’s off-on roommate. Moreover, he speaks in a far more casual and personal tone, adopting the voice of a relatively immature college student who spends his free time lifting weights, smoking weed, and chasing women.
What stands out most about the new tone of the narration is its strong sense of heteronormative masculinity. This positions Yunior—a character who appears in all of Díaz’s books and who has been described as the author’s alter-ego—as a study in contrasts with respect to Oscar. Oscar is a virgin; Yunior is a lothario. Oscar writes fantasy novels; Yunior writes bloody, action-packed stories about drug deals gone bad. Oscar is obese; Yunior can bench 340 pounds.
Despite the fact that Yunior would appear to outmatch Oscar in every quality of traditional masculinity, their relationship shows how much Yunior’s over-the-top virility is a front fueled by insecurities. Much of Oscar’s behavior, through no fault of his own, is perceived by Yunior in an adversarial light and as a threat to Yunior’s own masculinity. For example, when Oscar gives up on his jogging regimen, Yunior characterizes this decision as a personal affront. He writes, “These days I have to ask myself: What made me angrier? That Oscar, the fat loser, quit, or that Oscar, the fat loser, defied me?” (181). To Yunior, being defied by a “fat loser” is seen as an attack, even though Oscar’s choice has everything to do with Oscar and nothing to do with Yunior. This dynamic emerges again when Oscar becomes friends with Jenni. Yunior writes:
But of course I begrudged the motherfucker. A heart like mine, which never got any kind of affection growing up, is terrible above all things. […] [I]nstead of sharing my women wisdom I told him to watch himself—in other words I was a player-hater (185).
This lack of love—particularly fatherly love—is something that unites Oscar and Yunior, yet while Yunior manages to successfully adopt a pose of standard masculinity to cover up his insecurities, Oscar is unable to do this.
In a 2012 interview with The Daily Pennsylvanian, Díaz points out a parallel between the toxic masculinity of Yunior and that of Trujillo. He says:
[W]hat is it about masculinity? Why is it that so many of us live in dictatorships at home and in our relationship, but we draw the line at social and status dictatorships. There’s something really fucking weird about our willingness to [be in] these really fucked up, asymmetrical power relationships. (Akabas, Shoshana. “Q&A: Junot Díaz on Writing, Yunior and books that make him angry.” The Daily Pennsylvanian. 28 Nov. 2012.)
Just as Trujillo can allow no challenge to his authority, Yunior wants nothing more to do with Oscar after he quits jogging; just as Trujillo believes he is entitled to have sex with every young woman in the Dominican Republic, it kills Yunior to be rejected by Jenni and later see her accept Oscar—albeit only temporarily and only as a friend.
As for Jenni, she represents a further escalation of a pattern Oscar began with Ana: He falls in love with a woman, she only wants to be friends, and he falls into darkness and despair. With Ana, Oscar came dangerously close to engaging in very self-destructive behavior. Here, Oscar follows through on that behavior, jumping off a 77-foot bridge and miraculously surviving.
Just before his jump, Oscar is visited by the mongoose that guided Belicia out of the canefields to safety. Once again, the question of whether the mongoose is an agent of fukú or zafa emerges. Unlike with Belicia, the mongoose does nothing to save Oscar’s life; it merely stares at him. In Yunior’s opinion, however, the mere presence of the mongoose should have been enough to save Oscar. He writes, “Dude had been waiting his whole life for something just like this to happen to him, had always wanted to live in a world of magic and mystery” (190). Maybe the mongoose did save him; if the reader takes the narrative at face value, the mongoose is a magical creature and therefore could have manipulated gravity so that Oscar landed on the garden divider rather than the ground below. Whatever the case, it remains unclear at this point whether the mongoose saves the lives of the de Leóns and Cabrals out of beneficent mercy or merely to prolong their suffering.
Finally, these chapters give Oscar far more of a personality than in Chapter 1 when he is still in high school. Here, he emerges as dryly funny, totally lacking in shame, and in search of a way to reconcile his Dominican heritage with his idiosyncratic personality and tastes. All of these qualities are represented in Oscar’s first words to Yunior when they move in together: “Hail, Dog of God” (170), which in Latin translates to “Hail, Dominicanis.”
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