Ysrael: Perspectives and Identity in Junot Diaz’s ‘Drown’

Introduction

Life is all about perspective. To a pig, life revolves around food, consuming everything from corn and apples to even a child's face. Similarly, the perspectives of characters in literature can profoundly shape our understanding of their stories and personalities. In Junot Diaz's "Drown," the character Ysrael is portrayed not through his own words or thoughts but through the perspectives of others, particularly the brothers Yunior and Rafa. This essay explores how Diaz uses these perspectives, as seen in the short stories "Ysrael" and "No Face," to construct a multifaceted narrative of Ysrael’s life.

The central thesis of this essay is that through the eyes of others, Diaz crafts a complex and nuanced portrayal of Ysrael, emphasizing the limitations and biases intrinsic to second-hand storytelling while also highlighting the profound impact of societal perceptions on an individual's identity.

Shaping Ysrael’s Story: Perspectives of Side Characters

Junot Diaz skillfully employs the perspectives of side characters to tell the story of Ysrael. The narrative begins with the brothers Yunior and Rafa, who have only heard stories about Ysrael's disfigurement. "Even on this side of Ocoa, people had heard of him, how when he was a baby a pig had eaten his face off, skinned it like an orange" (Diaz 7). This anecdote establishes Ysrael's notoriety and the myth-like status he holds within the community. Through Yunior’s limited understanding, readers are introduced to Ysrael not as a person but as a legend or cautionary tale. This portrayal is significant because it reveals how easily a person can be reduced to a single aspect of their identity, overshadowing their humanity.

When Yunior and Rafa finally encounter Ysrael, the narrative takes on a more visceral tone. “Rafa took off his mask and threw it, spinning into the grass. His left ear was a nub, and you could see the thick veined slab of his tongue through a hole in his cheek. He had no lips. His head was tipped back, and his eyes had gone white, and the cords were out on his neck. He’d been an infant when the pig had come into the house. The damage looked old, but I still jumped back and said, Please, Rafa, let’s go!” (19). Through Yunior’s eyes, the readers witness the physical damage and the immediate emotional response it elicits. Here, Diaz uses the brothers' perspectives to emphasize the fear and misunderstanding that often accompany physical deformities. This scene underlines the theme of how appearances can overshadow the deeper dimensions of a person's identity.

The Silent Narrative of Ysrael

While the perspectives of Yunior and Rafa provide insight into how others view Ysrael, they do not capture his internal world. This limitation is evident in the story "No Face," where Ysrael's actions are recorded in the third person, providing readers with glimpses into his life yet withholding his innermost thoughts. For instance, "Today he buys Kaliman, who takes no shit and wears a turban. If his face were covered, he’d be perfect" (155). This observation highlights Ysrael's longing for strength and anonymity, qualities he sees in the superheroes he admires. The narrative also notes, “His little brother Pesao is awake, flicking beans at the chickens, his little body bowed and perfect” (159). By noting his brother's "perfect" body, the text subtly conveys Ysrael's awareness of his own imperfection and the envy that accompanies it.

Despite these insights, Ysrael’s true emotions remain elusive. For example, "I’m from here, he said. The mask twitched. I realized he was smiling" (18). Here, the movement of the mask is interpreted as a smile, yet this interpretation is speculative and lacks certainty. Similarly, "When he awakens, he’s screaming and blood brains down his neck; he’s bitten his tongue, and it swells, and he cannot sleep again until he tells himself to be a man" (158). These descriptions provide a glimpse into Ysrael’s struggles, but his internal dialogue is not fully revealed. The reader must infer his emotions, whether fear or anger, as the text does not explicitly state them. This narrative choice emphasizes the theme of isolation and the difficulty of truly understanding another's internal experience.

Conclusion

In "Drown," Junot Diaz masterfully uses the perspectives of side characters and third-person narration to tell the story of Ysrael. By relying on the viewpoints of others, Diaz highlights the limitations and biases inherent in second-hand storytelling. This narrative technique underscores the theme of how societal perceptions can define and sometimes distort an individual’s identity. Although the true perspective of Ysrael remains elusive, the reader gains insight into the complexities of his character and the societal forces shaping his narrative. The absence of Ysrael’s voice is a powerful reminder of how often marginalized individuals are defined by others’ perceptions rather than their own truths. Through this nuanced portrayal, Diaz invites readers to reflect on the power of perspective in shaping human stories and identities.

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