Reading Junot Díaz and filling the void of Latinx writers in US Literature Michelle F. Ramos Pellicia González, Christopher. Reading Junot Díaz. Pittsburgh, PA: U of Pittsburgh Press, 2015. 152 pp. ISBN 978-0-8229-6395-0. In Reading Junot Díaz, Christopher González presents us an analysis of the new image of the Latino man in the USA through Junot Díaz's work. It is with very detailed oriented descriptions that González argues this new image, although modern and challenging the stereotypes of the Latino man, is not in line with the image of the sexist womanizer that Díaz explains in detail in each one of its works. That is to say, this image raises the idea of the overweight ghetto nerd who is interested in super heroes, comics, Alderaan, and Lord of the Rings, but who contrasts with this being who delights in its sexual exploits in and out of the bed, in spite of hurting in the process that who appears to be "the one". González book is divided in an introductory chapter followed by three chapters, each one dedicated to each one of Díaz's work: Drown, The Brief Wondrous Life of Oscar Wao, This Is How You Lose Her. The fourth chapter discusses "Uncollected Fiction and Nonfiction". The last chapter is dedicated to the "Epilogue". The face of US Latinxs has changed dramatically in the last decades. Regions that were commonly thought of as predominantly Mexican or Cuban or Puerto Rican and Dominican have expanded their boundaries and have become more mixed with individuals from other Spanish-speaking ancestries. Hand in hand with this change, it is inevitable to also think of the Spanish-speaking communities as only listening to salsa, merengue, cumbias, rancheras, and only watching telenovelas and Sábado Gigante on tv stations such as Univisión or Telemundo. Latinxs, who now constitute 17% of the total US population (Census 2015), are the largest ethnic or racial minority of the United States are learning English more than ever (Krogstad, Stepler & Lopez 2015) and, because of this linguistic exposure, are fangirls of a variety of different characters of pop culture. Not only that, but also their language is a mix that reflects their inevitable cultural hybridity. It is in this context that González sets his work: I was so intrigued by the idea of a Latino author who wrote so freely about sci-fi and comics that I had to work extra hard to focus on the road, as I was driving [End Page 241] at the time. The novel seemed like a strange brew that was at once so personal and yet so foreign to me. I grew up a Latino kid in the Llano Estacado region of Texas and New Mexico, pretending I was a Jedi in training on Dagobah in my spare time. That was all well and good, but I knew Luke Skywalker wasn't Latino. (ix) In the Introduction, González situates Junot Díaz in his corresponding background. Born in Dominican Republic, immigrated at age six to New Jersey, attended Rutgers and Cornell University. Yet, despite this impressive résumé, knowing how much Díaz has written, and the relevance of his work, "he is the first Dominican American man to write and publish a book-length work of fiction in English" (Stavans 2011), González is able to bring his human most vulnerable side of this author: Upon nearing the completion of his MFA, the publication of his first story, "Ysrael", in Story came at a time when he began to doubt his future as a writer: I felt I was leaving graduate school with nothing: no stories, no agents, no interest, no confidence. … It was like in a movie when the hero is falling down to a certain death and suddenly reaches out and holds a branch that saves his life. González main goal for this text is to understand the motivation behind the level of notoriety Díaz's work has attained given that the author uses "relatively quotidian content" (3). Among the qualities that González identifies in Díaz's narratives are...