This “racism of color” (Hall 242) in the novel can be read as a manifestation of what Hall calls Présence Européenne. First and foremost, Yunior, as the narrator, sets himself up in opposition to the Dominican tendency toward amnesia in dealing with a troubled past. In another sense, the blank page represents the false veneer of wholeness and purity concealing true, conflicted history. On his second return to the island, having recently seized on the fukú as “bigger game afoot” (Díaz 306) than his physical injuries. Whether its cause is traumatic experience (as it is for Beli) or the interference of a dictator, blankness signifies an absence of viable history. Junot Diaz’s 2007 Pulitzer Prize-winning novel The Brief Wondrous Life Of Oscar Wao is an achingly beautiful, irresistibly harrowing depiction of Dominican Republic. Hall develops this definition with particular regard to the cultural identity of the Caribbean peoples, a diverse group for whom the concept of a shared history centered on Africa is more myth than fact. That value, however, is by no means a constant. Copyright © 2010–11 President & Fellows of Harvard College. Given that the fukú appears to be a historical force, we can begin to unravel the relationship between Trujillo and the curse by analyzing the dictator’s predilection for erasing history. For Hall, who refrains from making value judgments about cultural identities, the concept of redemption through reimagining the past may be irrelevant. The history of the Dominican Republic under Trujillo is replete with such paginas en blanco, both figurative and literal. can therefore raise the question: how do various forces within the novel confront the damage within a Dominican identity represented by the fukú? When Yunior, waking up after yet another cocaine trip, finally responds to the dream, he says, “OK, Wao, OK. You win” (Díaz 325), implying that the dream is in fact responsible for Yunior’s writing of the book. In this essay, however, foreign language words will be italicized for the sake of clarity but will appear in plain format in quotations from the novel. For Hall, the coexistence of these Présences in Caribbean identity evidences the complex fluidity that subverts the view of identity as stable, singular, and anchored. In his response to Sagal’s question, Díaz emphasized . However, the blank pages take on a new meaning as Oscar gains confidence as a writer. Chapter Three (paperback pages 77 - 165) for "The Brief Wondrous Life of Oscar Wao" If you can help improve this in any way, please drop me an email (in English) and I'd be happy to change it - this is just what I was able to cobble together. Five years after Oscar’s death, Yunior begins to have a version of the blank book dream, this time with Oscar behind the mask. This project of retelling is explicitly a project of redemption. Instead, Hall argues, this identity is actively and continuously constructed from mutable, subjective recreations of that history (237). Beli’s memories of that period of her life are not. By retelling the “true” history of the Dominican Republic, Yunior strives to restore the identity of his people, filling in the paginas en blanco not with false wholeness but with an embrace of the truth. Nowhere does he let the Dominican people remain free of blame. Oscar shows Yunior, “Would not have made it through AP Literature without the printable PDFs. In reference to his prolific writing, Oscar tells Yunior on the phone, “Almost had it”; later, during his impassioned address to the men who will kill him, Oscar alludes to “the thing that he had done, the thing they could no longer stop” (Díaz 320–321). The history of this culture, scarred by the violence of colonialism and the horrors of slavery, mirrors Beli’s own experiences in The Brief Wondrous Life of Oscar Wao; for the Dominicans who populate Díaz’s novel, the tortured past is, to some degree, a blank page, a dark period they prefer to be left unexamined. ———. The Brief Wondrous Life Of Oscar Wao Junot Díaz 56-page comprehensive study guide Features detailed chapter by chapter summaries and multiple sections of expert analysis The ultimate resource for class assignments, lesson planning, or … here and there but nothing more” (Díaz 243). As Hall explains, Caribbean cultural identities contain, among others, three simultaneous presences: Présence Africaine, Présence Européenne, and Présence Américaine (240). As a result, in trying to learn the truth behind Abelard’s story from his descendants, Yunior discovers “within the family a silence that stands monument to the generations… A whisper. 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