Jhumpa Lahiri had appreciation for India or Indians rather with her American friend’s comments on India’s communalism, poverty, beggars and heat. The novelist presents Moushumi’s psychical affairs with Dimitri and its after-effects that from an inertia and moral sickness. Once in an openness and frankness she narrated her in sheer humiliation. During her student days in New York University she was once travelling with her other friends in a bus overnight to Washington D.C. to participate in a protest of apartheid in South Africa while Dimitri as a fellow traveler by her side had sensed her sexual appeal. On ethical contention what is to be obsessed should not be confessed as this may invite catastrophic consequences in marital life. She narrates:
As the bus grew quiet, as everyone began to fall asleep, she had let him lean his head against her shoulder. Dimitri was asleep, or so she thought. And so she pretended to fall asleep too. After a while she felt his hand on her leg, on top of the white denim skirt she was wearing. And then slowly, he began to unbutton the skirt. Several minutes passed between his undoing of one button and the next, his eyes closed all the while, his head still on her shoulder,… It was the first time in her life a man had touched her… She was desperate… terrified… She felt his mouth near her ear, and she turned to him, prepared to be kissed, at seventeen, for the very first time (258).37-14
The happiness of marital life depends on mutual trust and any breach of this may invite a rift in conjugal happiness. Moushumi’s ultra-confessional tone trapped her wifehood forever. She preferred to be seduced by Dimitri even in her post-marital status. Dimitri does not remain inaccessible and anonymous now. Being el...
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... characters of Bengali origins, Lahiri indoctrinates ethics in their cultural and national consciousness. She presents that any personal attempt to destabilize it in their extendedness or hybridized cultural ego can invite existential traumas and emotional hazards. In her creative man oeuvre she essentialises ethical consciousness in the ‘professional Indians’ (Spivak 61).38-15
In The “Namesake”, Lahiri makes her protagonist Ashok emerge out of Gogol’s overcoat, a man in exile, attempting to build a dream for his family. The story set in the United States is written in the background of Lahiri’s own life in New England and New York, with Calcutta hovering over. For her “America is a real presence in the book; the characters must struggle and come to terms with what it means to live here, to be brought up here, to belong and not belong here” ((Houghton).8 -16
...is an American by virtue but Indian due to her parent’s upbringing. That is the reason why she is referred to being an Indian-American author which she has embraced. Due to the fact Bengali marries within their caste, Lahiri married a Latin American Journalist Alberto Vourvoulias and have two sons, Octivian and Noor. After getting married, Lahiri does not feel the need to be shy about speaking in Bengali or any other language. Currently residing in Rome with her family to feel how immigrants adapt to change and to go experience what her characters and parents do in her short stories. Through writing, Lahiri has discovered the fact she belongs to both the worlds and the generations of Indian-American immigrants will change and bring intense joy. "It has been liberating and brought me some peace to just confront that truth, if not to be able to solve it or answer it.”
Jhumpa Lahiri in The Namesake illustrates the assimilation of Gogol as a second generation American immigrant, where Gogol faces the assimilation of becoming an American. Throughout the novel, Gogol has been struggling with his name. From kindergarten to college, Gogol has questioned the reason why he was called Nikhil when he was a child, to the reason why he was called Gogol when he was in college. Having a Russian name, Gogol often encounters questions from people around him, asking the reason of his name. Gogol was not given an Indian name from his Indian family or an American name from the fact that he was born in America, to emphasize that how hard an individual try to assimilate into a different culture, he is still bonded to his roots as the person he ethnically is.
The Namesake by Jhumpa Lahiri Living in America, the Ganguli’s have the difficult choice of choosing between two dramatically different cultures. As a second generation Indian American, Gogol Ganguli is expected to preserve the ideals of his traditionally Indian parents while still successfully assimilating into mainstream American culture. In “The Namesake,” Jhumpa Lahiri reveals the stark contrasts between the perceptions of Ashima, Ashoke and Gogol in relation to their Indian and American views of relationships.
Jhumpa Lahiri composed the two short stories: “Interpreter of Maladies” and “Sexy” that conveyed the recurring theme of feeling like an outsider. During the first story, “Interpreter of Maladies,” there was a character named Mr. Kapasi, a “self-educated man,” who was a “devoted scholar of foreign languages,” who dreamed of becoming an interpreter for diplomats and dignitaries, where he could aid in “resolving conflicts between people and nations, settling disputes of which he alone could understand both sides” (Interpreter of Maladies). This dream became a fantasy after his parents settled his arranged marriage that turned for the worse. Mr. Kapasi’s wife “had little regard for his career as an interpreter,”and she despised the thought of him
In the novel The Namesake by Jhumpa Lahiri, the main character Gogol struggles with a religious cultural collision. Gogol battled between his parents Indian traditions and the American culture he grows up in this leaves him puzzled. His reaction to the cultural collision is relevant to the novel because every character in this novel struggles with accepting who he is.
“It didn 't matter that I wore clothes from Sears; I was still different. I looked different. My name was different. I wanted to pull away from the things that marked my parents as being different” (Lahiri).Even though she wears the same clothes as everyone else and looks normal on the outside, she knows she 's not different because of her background, her physical features, and most of all because of her name she wanted to pull away from anything that marked her as being ‘different’, so she wanted nothing to do with anything that made her parents(culture) different that would cause her to become an outsider . In the book Namesake by jhumpa lahiri the character gogol goes through similar experiences as the author,
Lahiri, a second-generation immigrant, endures the difficulty of living in the middle of her hyphenated label “Indian-American”, whereas she will never fully feel Indian nor fully American, her identity is the combination of her attributes, everything in between.
Even though the book and movie version of The Namesake are different in some instances, they both get the point across and are fairly accurate representations of one another. The movie, like the book, shows the common things that people go through when migrating from a familiar place to the States and how difficult it is to adjust when you want to keep past traditions. I’m still sticking with my original opinion that I tend to think that books are better portrayed than movies, but this one was a close call.
Jhumpa Lahiri was born as NalanjanaSudeshana. But as Jhumpa was found easier to pronounce, the teacher at her pre-school started addressing her Jhumpa. In the course of time it became her official name. Jhumpa Lahiri tries to focus on the issue of identity what she had faced in her childhood. Nikhil replaces Gogol when he enters Yale as a freshman. Here nobody knows his earlier name. He feels relief and confident. No one knows him as Gogol but Nikhil. His life with new name also gets changed. His transformation starts here. He starts doing many activities which he could not dare to do as Gogol. He dates American girls. He shares live in relationship. His way of life, food everything changes. But a new dilemma clutches him. He changes his name but “he does not feel like Nikhil” (Lahiri, 105). Gogol is not completely cut off from his roots and identity. He tries to reject his past but it makes him stranger to himself. He fears to be discovered. With the rejection of Gogol’s name, Lahiri rejects the immigrant identity maintained by his parents. But this outward change fails to give him inner satisfaction. “After eighteen years of Gogol, two months of Nikhil feels scant, inconsequential.” (Lahiri, 105) He hates everything that reminds him of his past and heritage. The loss of the old name was not so easy to forget and when alternate weekends, he visits his home “Nikhil evaporates and Gogol claims him again.” (Lahiri,
Over the course of the novel, The Namesake, by Jhumpa Lahiri, Gogol is constantly moving, and by the time he is in his late twenties, he has already lived in five different homes, while his mother, Ashima has lived in only five houses her entire life. Each time Gogol moves, he travels farther away from his childhood home on Pemberton Road, symbolizing his search for identity and his desire to further himself from his family and Bengali culture. Alternatively, Ashima’s change of homes happens in order to become closer to family, representing her kinship with Bengali culture. Ashima has always had difficulty with doing things on her own, but by the end of the story she ultimately decides to travel around both India and the States without a real home as a result of the evolution of her independence and the breaking of her boundaries; in contrast, Gogol finally realizes that he has always stayed close to home, despite his yearning for escape, and settles into his newly discovered identity - the one that he possessed all along.
Sociology professor Morrie Schwartz once said, "Rules I know to be true about love and marriage: If you don't respect the other person, you're gonna have a lot of trouble. If you don't know how to compromise, you're gonna have a lot of trouble. If you can't talk openly about what goes on between you, you're gonna have a lot of trouble…” (Albom 149). Although not stated as clearly or concisely, the vast majority of Jhumpa Lahiri’s stories retell the truths told above. Three stories in particular; "A Temporary Matter," "When Mr. Pirzada Comes to Dine," and "The Third and Final Continent," especially exemplify the quote above. Throughout these stories Jhumpa Lahiri writes of the struggles Indians have building new relationships while trying to assimilate to American culture; Lahiri illustrates that in order to strengthen any relationship, one must display compassion, respect, and honesty.
“Interpreter of Maladies” is a story by Jhumpa Lahiri about a family of Indian descent that is from America going on a tour in India with a tour guide named Mr. Kapasi. Mrs. Das is very kind and thinks that Mr. Kapasi’s job is interesting, and Mr. Kapasi has feelings for Mrs. Das that he thinks are mutual. The feeling are no mutual because Mrs. Das actually feels bad because she is not involved enough with her family. Jhumpa Lahiri clearly sides with the Americanized family and makes the Native Indians seem untrue to their spouses and unrealistic dreamers. Mr. Kapasi is a married man, but he is attracted to Mrs. Das.
Throughout life, it is important for individuals to obtain their own sense of self and individuality. Jhumpa Lahiri narrates a story of this young man, Gogol, who is caught between two worlds, through her novel The Namesake. Through the progress of the novel, Gogol comes to terms with his multicultural and complicated identity. Gogol’s struggle with his identity is the focus for the novel, and his name becomes a symbol for this difficulty. Gogol grows up never understanding the significance of his name and grows up hating it. By choosing one name over the other, Gogol decides to define himself under a different self. And last but not least, the narrative depicts Gogol's fractured identity as he tries to disassociate himself from both his family and his cultural heritage to forget his own self.
First, the characters understand that their relationship is based on future aspirations and second, they have historical relationship disappointments. This third insight into the psychology of love supports the fact that many relationships and marriages often fail because of unrealistic expectations. Psychology research SHOWS that individual expectations for relationships actually sows the seeds of discontent. People are expected to provide not only provide safety, security and support, but also facilitate personal growth and freedom. Even though they come from an older period in history, Anna and Dmitri are stereotypical people who have unhappy pasts and hopeful futures. They are thrown into an intense relationship with limited mutual understanding. Chekhov’s limited dialogue and straightforward narrative leaves plenty of cognitive room for readers to ruminate about their own experiences and how they relate to the
Despite Tolstoy’s intentions of ultimately turning “Family Happiness” into a novel, an intention which one would expect would render any temporary stopping place awkward and convey the wrong idea, the ending of the story is not actually as disjointed or raw as one would perhaps expect of an unfinished work. There is ample suggestion from the beginning of Sergey Mikhaylych and Masha’s relationship that the two lovers do not fully understand each other or themselves, and set expectations for their marriage based on these misunderstandings so that neither character’s expectations can possibly be met. Masha’s eagerness to appear mature enough leads her to put on the affectations of the personality she thinks Sergey is seeking in her, and in doing so she suppresses her own desires by casting them off as childish. Sergey, on the other hand, overestimates the maturity and wisdom of his own feelings by failing to see the distinction between life experience, of which he has a great deal, and romantic experience, of which he has virtually none. He substitutes the former for the latter in his perception of the situation, but in doing so, misconstrues his own desires. These misunderstandings of both themselves and each other are established in the story before the couple marries, and while it is possible for their love to change shape or to end altogether, it is impossible from its beginning for it to maintain its initial passion.