##plugins.themes.bootstrap3.article.main##

Dr. Suchitra Vashisth

Abstract

The debut novel of American author, ‘Jhumpa Lahiri’, ‘The Namesake’ (2003) was originally published in ‘The New Yorker’ before being published into a full-length novel. It depicts a person’s dilemma being caught between different cultures with distinct religious, ideological and social differences. It was published in Bengali language (2005) by ‘Ananda Publishers’. It was given a Bengali title ‘Samanamiie’ translated by ‘Poulami Sengupta’. This novel is adapted into a major motion picture, director by highly acclaimed Indian American filmmaker ‘Mira Nair’, screenplay by Sooni Taraporevala and it features some of the talented actors like Irrfan Khan, Tabu, Kal Penn and Sahira Nair. Even Lahiri too had a guest appearance in the movie. This movie was jointly produced by Indian, American and Japanese studios. This movie was screened in ‘Film Festival’ in Toronto and in New York City and overall it received positive reviews.


This novel presents the a journey of a Indian Bengali family ‘Ganguly’- Ashoke Ganguly and his wife Ashima Ganguly and their children Gogol or Nikhil Ganguly and Sonali Ganguly and for some time Moushumi Mazoomdar, Gogol’s wife. In this novel our characters travels to various places like America, India and Paris. Through this thesis we will witness our characters not just physical but spiritual journey. How our characters experience self isolation and problem of existentialism in various ways. How our characters live up to their name in the novel- ‘The Namesake’.


We give a specific label to everything in this world and refer it as it’s ‘name’. It can be anything whether it is a person, place or thing. Every element on this earth whether living or non-living has a specific name to address them. The name of a person is direct connection to his/ her individuality and to his/ her identity. We use a name of a person with courtesy to address and recognize him/her. If someone remembers our name after the first meeting, we feel respected and more important but if someone forgets our name even after repeated reminders, we feel slightly agitated. Name is the first thing which a person receives after he/she is born in this world. Thus every human being has their own separate name which segregates them from the other humans. Without a name it would be very difficult to refer a particular human in between the entire crowd or a group of people. It is said a name of a person helps in developing a person’s personality, his/her character. Therefore a name is not just a label to recognize a person but a name of a person is much part of him/her. Thus, for any person his/her name is very important thing to them.


Through this novel we get to know that in Bengali culture everyone has two names. One is Pet Name which in Bengali is called ‘Daknam’ - a name which is used only by a person’s family members, his relatives and close friends, basically people in his very close circle. It is very personal and is used informally with affection. These types of names are reminder of childhood, that life is not so complicated and is full of fun and love. Our characters too have their own pet names- Ashoke’s pet name is Mithu while Ashima’s pet name is Monu and Nikhil and Sonali’s pet names are Gogol and Sonia. Then every pet name is paired with a ‘Good Name’ which in Bengali is called ‘Bhalonam’. It is used for identification in the outside world and not in a person’s personal life. These are formal, always officially recorded and are used for official matters like they are written on diplomas, telephone directories and on envelopes (that’s why Ashima’s mother used to write Ashima outside the envelopes and Monu inside the letters). Pet names are generally meaningless, ironic and silly whereas Good names are more dignified and enlightened.

Metrics

Metrics Loading ...

##plugins.themes.bootstrap3.article.details##

Section
Articles

How to Cite

Problem Of Existentialism Presented In The Novel- ‘The Namesake’. (2023). Journal of Namibian Studies : History Politics Culture, 33, 3811-3825. https://doi.org/10.59670/s9k2j224