The narrator tells the reader: “you don’t know what it’s like to grow up with a mother who never said anything that wasn’t negative, who was always suspicious, always tearing you down and splitting your dreams straight down the seams.” These lines suggest the mother’s breasts match her monstrous parenting. She says of them: “the aureoles are as big as saucers and black as pitch and at their edges are fierce hairs that sometimes she plucks and sometimes she doesn’t.” This description of the mother’s breasts has a grotesqueness that speaks directly to the narrator’s feelings about her mother. The metaphor works because of the ambivalent relationship the daughter has to her mother’s breasts. Despite the inherent (male?) silliness of making large breasts a metaphor for a woman’s life force, this opening is the most powerful section of the story. The first reel is a beautiful, second-person account of the day a young girl learns her mother’s life force, her large, eye-awing breasts, are sick.
#SUMMARY OF AURORA BY JUNOT DIAZ MOVIE#
The reader is told (the whole story is told more than experienced) the job is important because, “if is held up or gets into an accident the first reel will end and there will be no second reel Because of me, he brags, one movie becomes three.” This is the structure of “Wildwood:” three different reels packaged as one movie. There is a moment when the young, female narrator has been exiled to the Dominican Republic, and is dating a Dominican boy named Max, whose job is to exchange the film reels shared among the movie theaters in Santo Domingo. To understand the cobbled structure of Junot Diaz’s “Wildwood”, one has to look no further than the story itself.
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