“Fiesta, 1980” by Junot Diaz explores the sad reality of family relations driven by the fear of communication. Stemming from an abusive parent, Papi, we see Yunior’s family descend into a state of anxiety and fear of confrontation within their own home, a space that should be safe. Mami, Rafa, Madai, and Yunior submit to abuse that coerces them into silence against Papi’s obvious violence. Although the physical punishments that come with challenging Papi’s assertion of toxic masculinity are painful, it seems the family members are more concerned about losing Papi’s love (pg. 27), they know that to challenge his violent control is to undermine the agreed-upon silence which artificially unites the family under a somewhat liveable and stable environment.

Yet, although the four family members cannot express the repressive family environment, the gaze and looks exchanged provide solidarity and recognition to each other’s feelings evoked by Papi’s abuse. Looks are a very important motif in Junot’s story. The first instance is on page 23 when Papi returns from his affair, and Yunior and Rafa look at each other to recognize their father’s family betrayal. Another pivotal point in the story is on page 26, where Madai is too scared to open her eyes. By being the youngest, Papi’s violence is something she is not as accustomed to. By closing her eyes, she is likely in denial of the pain inflicted by her dad and does not want to recognize the others’ anxiety yet. Finally, probably the most moving moment of recognition in the story, on page 42, Yunior looks at his mom with love and compassion, and through a smile, Mami seems to reassure him of her love. Hence, through gazes of sympathy and recognition, they transmit and read feelings through their eyes that they could not communicate otherwise because of Papi’s presence.