Jhumpa Lahiri’s The Namesake centers on Gogol’s struggle to navigate and settle into his bicultural identity and he does so in various ways, most significantly through his relationship with Maxine, through which he seeks to confirm his American identity, though he is ultimately driven to accept his Indian American identity, and his relationship with Moushumi, through which he reaffirms his hyphenated Indian-American identity.
Gogol’s interracial relationship with Maxine is initially attractive to him for its ability to take him outside of his Indian American cultural identity and tradition. This is evident because he is constantly comparing Maxine’s family to his own, particularly at the beginning of their relationship. For example, when he first has dinner with Maxine’ parents, he thinks to himself that Ashima “would never have served so few dishes” (133) and that their
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This occurs when Maxine becomes impatient with Gogol and the way he copes with his father’s death, which is evident when “she had not understood being excluded from the family’s plans to travel to Calcutta to… Scatter Ashoke’s ashes” (188) and in her admission of jealously of Ashima and Sonia for all the time Gogol was spending with them (188). Most significantly, when given the chance to separate himself from his family, once again, when Maxine suggests going on a trip to “get away from all of this” (182), “this”, meaning his family and the Indian tradition of grief, after which he feels more connected to his family and culture, he chooses to remain with his family and, thus, embraces his bicultural Indian American identity, saying, “I don’t want to get away”
Born to Bengali parents in July 1967,in London and with her family’s move to Rhode Island, Jhumpa Lahiri began life in the U.S.A. She grew up in the background of traditional Bengali culture. From childhood, she often accompanied her back to India-particularly to Calcutta (now known as Kolkata).. She observes that her parents retain a sense of emotional exile and she herself grew up with conflicting expectations. In her work, Lahiri, is a second-generation immigrant, reflects on the Indian diaspora and creates a narrative that reveals the inconsistency of the concept of identity and cultural difference in the space of diapora.
ANELISWA NALA 2015317601 ENGL1624 DUE: 28 OCTOBER 2016 The Absolutely True Diary of a Part-Time Indian has one mutual theme that associates all the other themes in the novel together. In the chapter titled; “Valentine Heart,” we encompass the most prominent and most cognisant theme of them all- grief. This chapter conveys the most detectable attributes of grief that functions as both an individual and collective process of dealing with loss. Argumentatively one could say that grieving has its fair share of adversities.
In the reading “Son” by Andrew Solomon, horizontal and vertical identities are compared and dissected through the lenses of society’s perceptions. A vertical identity is when “attributes and values are passed down from parent to child not only through DNA, but also through shared cultural norms”, while a horizontal identity is when “someone has an inherent or acquired trait that is foreign to his or her parents” (370). Solomon being a gay, dyslexic man brought up as an anti-Jew Jew, has well delved into the controversy of the ethics between what is considered an illness versus what is accepted as an identity. In the reading “Son”, Solomon narrates his struggle with identity from his early ages to present, and shows the development of his ethical
The author uses a sentimental appeal to illustrate Bharati’s willingness of acceptance and her sister’s averse attitude towards America through
Jhumpa Lahiri's Interpreter of Maladies is filled with comparisons and various motifs that could instigate the interests of the reader. The diversity of the mother-child relation shown in the symbolic portrayals of motherhood that Lahiri seems to grant more than the most basic critique is admittedly one of the more curious ones. Lahiri does not seem to prefer or priviledge any of the representations, be it American or Indian, but she certainly creates a clear image that the two characters, Mrs. Das and Mrs. Kapasi, make as mothers. There is less detail about Mrs. Kapasi and her realtions with her children, but the first time that Lahiri mentions her, she is shown as a caring mother whose son died. Lahiri writes that “in the end the boy had
This is the moment where his two identities, Gogol and Nikhil, begin to pull apart from each other and more major differences between the two show more intensely. Later on, Gogol develops a serious relationship with an all-American woman named Maxine who leads him ever further from his family. “He tells her he has a deadline at work, but it’s not true-- that’s the day that he and Maxine are leaving for New Hampshire, for two weeks” (144). Since Gogol is spending all this time with Maxine and her family, he barely has any time for his own family and he’d rather be with Maxine. Gogol starts lying to his parents and making up excuses to avoid them which causes him to drift from his family even more than he already has.
Gogol, the son of Ashima and Ashoke, was born in America and spends the first half of his life trying to run away from his Bengali roots. Although Gogol does not feel as lost and detached as his parents in America, he has a difficult time trying to balance the Bengali culture he was born into as well as the American culture he sees and experiences all around him as he is growing up. Throughout the novel, The Namesake, Gogol struggles to develop his identity due to the clashing of Bengali and American culture in his life. Gogol’s first obstacle in his search for self-identity occurs only a couple days after his birth, when his parents must decide on a name in order to be released from the hospital. Ashima and Ashoke eventually decide on Gogol, after the writer who saved Ashoke’s life during a train crash.
As Gogol is more familiar with American culture, he feels his parents’ way of inviting people to dinner is vaguely foolish, and that leads to the fact that he prefers to spend more time with Maxine’s family rather than his own. The gap also widens in the relationship aspect. When they are curling up on the sofa in the evenings, Gogol is reminded that, “in all his life he has never witnessed a single moment of physical affection between his parents. Whatever love exists between them is an utterly private, uncelebrated thing.”(p138) He loves every companion and that is why he chooses to be with thim.
To be alone on an island, painting the sky the desired shade of blue, but to be secluded, fending away civilization as it it were a parasite, is not one’s ideal state of mind. Yet, by a particular female character named Moushumi In the book The Namesake, they are confused. Moushumi is the ex-wife of Gogol and identified in detail by Jhumpa Lahiri. Moushumi’s identity is composed of her experiences, her values, and her background.
The graphic novel, Persepolis that is written by Satrapi depicts the coming of age story of Marjane and her experiences during and after the Iranian war. Through Marjane’s experiences, the character frequently encounters the hardship and conflict of growing up. However, these hardships are major factors that shape Marjane as a character and establish the context of the novel. Within this novel, Satrapi uses graphic novel conventions and literary devices to convey the conflict of Marjane; with herself, with man (in the form of her teachers), and with the society that is revealed in Persepolis.
In the novel The Namesake by Jhumpa Lahiri there are many relationships portrayed throughout the story. Ashoke and Ashima’s relationship doesn’t show their affection for each other. Gogol had three serious relationships with Ruth, Maxine and Moushumi one of which he ended up marrying. His relationship with Maxine was strong because he was very close with her and her family. Gogol’s relationship with Moushumi was based on secrets and their way of not being more open with each other.
One Amazing Thing. Chitra Banerjee Divakaruni. USA: Hyperion, 2009. 209pp. Under the rubric of Commonwealth Literature, there is always a bewildering array of overlapping and intersecting experiences between ‘home’ and ‘abroad’.
(6.140) : Maxine and her family are an escape for Gogol, but they also represent the distance from his family. Gogol views this relationship as an escape from his past, as an escape from his old self. He is now even more distanced and alienated from his parents. The closer he becomes with Maxine, the further he distances himself from his parents, and when his fathers dies, Maxine becomes a symbol of this alienation, and Gogol is overridden with