Jhumpa Lahiri's debut story collection, Interpreter of Maladies, took the literary world by storm when it won the Pulitzer Prize in 2000. Fans who flocked to her stories will be captivated by her best-selling first novel, now in paperback for the first time. The Namesake is a finely wrought, deeply moving family drama that illuminates this acclaimed author's signature themes: the immigrant experience, the clash of cultures, the tangled ties between generations.
The Namesake takes the Ganguli family from their tradition-bound life in Calcutta through their fraught transformation into Americans. On the heels of an arranged wedding, Ashoke and Ashima Ganguli settle in Cambridge, Massachusetts, where Ashoke does his best to adapt while his wife pines for home. When their son, Gogol, is born, the task of naming him betrays their hope of respecting old ways in a new world. And we watch as Gogol stumbles along the first-generation path, strewn with conflicting loyalties, comic detours, and wrenching love affairs.
With empathy and penetrating insight, Lahiri explores the expectations bestowed on us by our parents and the means by which we come to define who we are.
Any talk of The Namesake
--Jhumpa Lahiri's follow-up to her Pulitzer Prize-winning debut, Interpreter of Maladies
--must begin with a name: Gogol Ganguli. Born to an Indian academic and his wife, Gogol is afflicted from birth with a name that is neither Indian nor American nor even really a first name at all. He is given the name by his father who, before he came to America to study at MIT, was almost killed in a train wreck in India. Rescuers caught sight of the volume of Nikolai Gogol's short stories that he held, and hauled him from the train. Ashoke gives his American-born son the name as a kind of placeholder, and the awkward thing sticks.
Awkwardness is Gogol's birthright. He grows up a bright American boy, goes to Yale, has pretty girlfriends, becomes a successful architect, but like many second-generation immigrants, he can never quite find his place in the world. There's a lovely section where he dates a wealthy, cultured young Manhattan woman who lives with her charming parents. They fold Gogol into their easy, elegant life, but even here he can find no peace and he breaks off the relationship. His mother finally sets him up on a blind date with the daughter of a Bengali friend, and Gogol thinks he has found his match. Moushumi, like Gogol, is at odds with the Indian-American world she inhabits. She has found, however, a circuitous escape: "At Brown, her rebellion had been academic ... she'd pursued a double major in French. Immersing herself in a third language, a third culture, had been her refuge--she approached French, unlike things American or Indian, without guilt, or misgiving, or expectation of any kind." Lahiri documents these quiet rebellions and random longings with great sensitivity. There's no cleverness or showing-off in The Namesake, just beautifully confident storytelling. Gogol's story is neither comedy nor tragedy; it's simply that ordinary, hard-to-get-down-on-paper commodity: real life. --Claire Dederer