The theme of love and madness as depicted in The Brief Wondrous Life of Oscar Wao

Love is inherently linked with madness. All of history has shown love to be not only blind but deaf, and yet it stubbornly persists as one of the most specifying characteristics of the human condition. It definitely perseveres throughout Junot Díaz’s novel The Brief Wondrous Life of Oscar Wao, defying reason, rhyme, and any and all pretenses at peace of mind. Love in The Short Wondrous Life of Oscar Wao belongs to a disease, an illness that none of the characters totally recuperate from. In his function as storyteller Yunior endeavours to firmly impress upon readers that the difficulties that befall the characters, particularly Oscar, in the unique all relate back to the historic curse of fukú, the supernatural power thought to haunt the De Leòn household. However, the genuine curse of the De Leòn family is not the supernatural fukú, conjured up by individuals when they can not describe why actually dreadful, and truly wonderful, things happen in the world; it is love, or the perversion of it that Oscar and the De Leòns comprehend it to be. Díaz refutes the concept of the supernatural by showing Oscar as a character taken in by love, he rather literally goes mad at the possibility of it, and in his repeated doing of so he perpetuates his family’s individualized fukú.

Throughout The Quick Wondrous Life of Oscar Wao, Oscar De Leòn is exposed to be irrevocably in love with false understandings of what love genuinely is and means. Oscar is addicted to envisioning himself as being in love with whatever lady acknowledges him, whether it be Ana, Jenni, or the miscellany of women he hands down the street. “His love– that gravitational mass of love, worry, yearning, desire, and lust that he directed at any and every woman in his vicinity without regard to appearances, age, or accessibility– broke his heart each and every day” (Díaz 23). Oscar does not fall in love, he falls into desire, physical desire, but likewise lust for friendship, for something, anything, that will make him seem like less of an outsider, an other.

These are not in themselves desires that Oscar ought to be blamed for or have held versus him, or have damage him; nevertheless, they become such by means of the enormity with which he responds to not fulfilling them. During his Ana phase, (Ana who is not so much his first love as his very first rejection, as that is the pattern of the majority of his (short) life), Oscar really waits outside her partner’s home with a weapon, prepared to shoot him. Yes, Manny is an abuser and a pervert, for dating a 13 year old when he is 24, and he might be worthy of some kind of comeuppance, however nevertheless, Oscar takes a look at his fascination with Ana and what she can do for him, make him feel both physically and mentally, as the equivalent of love, and that is wrong.

Oscar has a knack for latching on to ladies he loves, in his own way, but who treat him, at best, like a buddy to be pitied, and when the final rejection comes Oscar snaps. Jenni is an extreme example, as it is her rejection that drives Oscar to attempt suicide. Her nickname of ‘La Jablesse’ recommends something devilish about her while adding a sense of wicked intent to her relationship with Oscar, and this is reflective how all of the other ladies in the novel lure Oscar to self-destruction, the same destruction Yunior confuses with fukú.Oscar believes Ybón to be the one true love of his life, as the beginning of his real life, however in actuality his relationship proves that he when again stops working to accurately appraise the significance of love. Of his relationship with Ybón Oscar states “Love was an unusual thing, easily puzzled with a million other things, and if any person knew this to be true it was him” (321 ). This holds true, and Oscar may know it well, but that does not indicate he really understands what love is. Oscar likes selfishly, greedily, and blindly. Oscar takes a look at his determination to crave his love of Ybón as the supreme unparalleled evidence of commitment, of pledge, and in itself this might definitely be such. Nevertheless, Oscar does not just die for his version of the sanctity and power of love; he purposefully and repeatedly endangers the life of Ybón. She asks him once again and once again to leave her alone for both of their sakes and yet he refuses to even think about listening to her, in the so-called sensible name of real love. This love, this adoration, earns Ybón a. 44 magnum in her vagina while the capitán asks her who she actually enjoys.

In addition to his self-centered, juvenile understanding of love, Oscar can not offer any assurances to Ybón. Love is supposed to be a guarantee, something that can be depended on no matter what, where, when, or why, however absolutely nothing in Oscar’s turbulent attempts at romance recommend an attention period. Perhaps if any of his targets, as this is what the ladies he enjoys are to him, had shown reciprocation Oscar would have the ability to provide proof of extended romantic interests, however for somebody who loves as quickly and blindly as Oscar this is not likely. Oscar can use no warranties, and had he not endangered Ybón and gotten himself eliminated in his selfish, deliberate perversion of love, Oscar would probably have actually lived to see that in time his love for Ybón too would have passed, onto some woman he made fleeting eye contact with on any provided street.

In The Quick Wondrous Life of Oscar Wao, Lola states that “If [one were to] ask [her she does not] think there are any such things as curses. [She] thinks there is just life. That’s enough” (205 ). This is certainly the case for Oscar, who does not die at the hands of fukú. Oscar dies at his own hands, at what is basically his own request, because he is not efficient in understanding love. His love is sick, desperate and needy, unknowing, and harmful to all parties involved. Yunior puzzles the misery and death of Oscar as being caused by the supernatural, however in truth Oscar triggers his own damage. He does not really like any of the women he goes mad over, he does not know how, and his desperation is the true curse.