This work explores Junot Díaz’s incorporation of nerd culture into his novel, The Brief Wondrous Life of Oscar Wao, and that move's larger impact on the genre of trauma narratives. By using allusions to nerd texts such as The Lord of the Rings to structure his depiction of the brutal reign of Dominican dictator Rafael Leónidas Trujillo Molina, Díaz effectively rewrites Dominican history, creating a retroactive continuity of fantasy. Retroactive continuity, or retcon, is a little-discussed interpretive strategy of the nerd community with striking parallels to Lacanian notions of fantasy. A reading of Díaz's retcon ultimately casts doubt on the silent victim's traditional role as the foundation of trauma narratives, suggesting instead that the ideological root of these stories is actually the hypothetical denier of trauma.

The purpose of this thesis was to contribute to a dialogue that considers the relationship between history, literature, and empathy as a literary affect. Specifically, I explored sites of literature’s transformative potential as it relates to cultural studies and the ethics of deconstruction. Via a deconstructive, post-colonial reading of Toni Morrison’s Beloved and Junot Díaz’s The Brief Wondrous Life of Oscar Wao, I considered how subjects in our current socio-political moment can feel history. Emerging from a post-structurally mediated engagement with history, signification, and feeling, I argued that empathy, as it is contentiously presented in the context of deconstruction, is not necessarily a reductive or essentialist approach towards relating or “being-with” an-other. Instead, I proposed that the act of reading historiographical novels that take constructions of the Atlantic Slave Trade to task might generate an affective empathy, which could in turn engender a more empathetic relationality and way of being-in-the-world.

This work explores Junot Daz as an author of decolonial imagination, and more specifically, how the carnivalesque nature of Dominican machismo as influenced by Trujillos el tguere masculinity creates liminal space for self-determination in opposition to colonial imagination. In exploring Dazs primary masculine characters, Oscar de Leon and Yunior de Las Casas, I trace the initial decolonial turn engendered by tigueraje performance, namely its projective creation of self outside of colonial domination. El tguere machismo as empowering for Dominican males, however, is problematized by its reciprocal domination of both women and men who fail to meet the tigueraje ideal. It becomes an attempted cure that is ultimately symptomatic of the extent to which the effects of insidious ideologies and political policies, in this case, imperialism, perpetuate themselves across time, space, and perhaps most significantly, cultures. Ultimately, identifying Junot Daz as decolonial author is a misrepresentation; though Daz writes to break free of coloniality, his failure to largely acknowledge in his writing the cost and damage done to Dominican women reveals a narrow focus antithetical to the larger goals of decoloniality.

This creative thesis is comprised of stories that present characters who deal with guilt and betrayal and explores various points of view. My work is informed by Junot Diaz’s The Brief Wondrous Life of Oscar Wao, which contains these themes and investigates narration. “Surviving Fog” centers around survivor’s guilt, while “Coming Full Circle, No Detour in Sight” demonstrates how a person can exert expectations on herself due to a religious background and personal values. Perhaps my most provocative story, “Beyond the Apple Orchard” delves into the emotional and physical betrayal of a father and the daughter’s struggles to overcome it. “Photographic Memories” embraces the surreal with a woman who can “read” photographs, whose story blends past transgressions that bleed into current ones, while “Send in the Clowns, Send in the Mob” explores herd mentality that stems from fear. Ultimately, each story contains kernels of truth that readers can grasp.

Contemporary transnational literature presents a unique interpretive problem, due to new methods of language and culture negotiation in the information age. The resulting condition, transnational compositionality, is evidenced by specific linguistic artifacts; to illustrate this I use three American novels as a case study: Nowhere Man by Aleksandar Hemon, Absurdistan by Gary Shteyngart, and The Brief Wondrous Life of Oscar Wao by Junot Díaz. By extension, many conventional literary elements are changed in the transnational since modernity: satire is no longer a lampooning of cultures but a questioning of the methods by which humans blend cultures together; similarly, complex symbolic constructions may no longer be taken at face value, for they now communicate more about cultural identity processes than static ideologies. If scholars are to achieve adequate interpretations of these elements, we must consider the global framework that has so intimately shaped them in the twenty-first century.