This Is How You Lose Her by Junot Diaz

Quite possibly the best collection of short stories that I have ever read. A rarity indeed, since most collections are rarely ever this consistent in quality. While some stories are more engaging than others, there are no weak links amongst them. From the sensational opener "The Sun, The Moon, the Stars," which sets the ironic tone for the entire collection; to "Alma" about a devastating break-up with a college girlfriend because of the narrator's infidelity (clearly a recurring theme); to "Miss Lora" about the young narrator's affair with an older woman; culminating in the incredible final story "The Cheaters Guide to Love," an explicit parody of the instructional manual that ironically teaches men 'how to' perpetuate cultural stereotypes and perform masculinity. All of these stories showcase Diaz's mastery of the form--his innovative use of language, narrative voice and literary technique is nothing short of dazzling. "The Cheaters Guide to Love" absolutely floored me and is worthy of an extensive analysis. As a matter of fact, each story deserves it's own review and I plan on doing that at some point. 

Diaz is easily one of the most exciting new voices that I have come across in contemporary literature. He is a stylistic virtuoso, a literary rock-star. Nobody out there writes like him. For me, his talents as a great writer are demonstrated by his playfulness, irreverent humor and ironic engagement with racial and gender stereotypes. While constantly pushing the boundaries of the modern short-story form by cleverly dismantling its conventional boundaries, he delivers something truly unique, especially in regards to his representation of the subjective-self. Yunior is the narrator for almost all of these stories but he uses a second-person narrative voice that seemingly has several functions: (1) self-reflexivity invoked by the "you" pronoun allows for pensive contemplation, self-criticism (ex: racialized self-hatred); (2) ironic pedagogical instruction intended for younger self but also implicates the reader;  (3) clever and funny narrative voice makes him likable and sympathetic even though he is mostly unpleasant and down-right despicable at times; (4) healing through the creative process of writing; and (5) parody of self-help books. I will try my best to go into greater detail within the individual reviews regarding any of these important aspects, concomitant with the fascinating second-person narrative voice. Additionally, complex issues such as race, gender, sexual politics and class are also worth exploring.  

Most notably, Yunior along with other male characters are not always embodying stereotypical Latin machismo on a conscious level; rather, they are influenced by cultural gender norms. They are portrayed as complex human beings, struggling with their identity as racialized individuals in an oppressive American society. Moreover, Diaz is keen to emphasize the damaging psychological effects of cultural memory and its inextricable link to destructive male behavior, especially towards women. He offers an insightful critique of intergenerational trauma and sexism (patriarchy, heteranormativity, male chauvinism, etc.) within a post-colonial context. Anyone who claims that the short-story is a "minor" literary art form will certainly be proven wrong with this amazing collection. These stories possess an explosive energy and emotional complexity of human experience that is  provocative, edgy, intelligent and surprisingly poignant. 

However, it's a shame with all the #MeToo controversy surrounding Diaz over the last few years concerning his abusive and unprofessional behavior towards multiple women who have all spoken out against him. I find it somewhat ironic if we are to interpret many of these stories from This Is How You Loser Her as being semi-autobiographical. Life imitating art? Let me clarify that I am not in any way condoning his behavior but does this controversy make me enjoy these stories any less? No. If anything, these stories have now taken on another layer of meaning: the meta-fictional elements blurring the lines even more profoundly between fiction and autobiography.