The Collected Tales of Gogol Ganguli
Prose Analysis
Mise en scène
Compare and Contrast Essay
Alisa Feng
AP English Literature
Ms. Wilson
October2, 2013
I have read and understand the sections in the Student Handbook regarding Mason High School’s Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a “0” on the paper, as well as an “F” as a final grade in the course.
Digital signature: Alisa Feng
Alisa Feng
Ms. Wilson
AP English Literature
September 26, 2013
Prose Analysis
Throughout The Namesake, protagonist Gogol Ganguli embodies the Indian-American culture clash in his very character. He lives much of his life split between identifying with his family as Bengali and identifying with his peers as American. When not occupied with the pursuit of Westernization, Gogol is more often than not busy dodging every reminder of his heritage. Author Jhumpa Lahiri composes much of The Namesake with extensive focus on Gogol’s perspective, emphasizing the internal cultural dilemmas plaguing his youth. These conflicts usually serve to highlight Gogol’s detachment from his Bengali culture and immigrant status in the US; however, when Maxine, the epitomized American, arrives at Ashoke’s funeral ceremony, Gogol’s connection to his heritage finally overpowers his craving for an adopted lifestyle. Amidst the reversal of Bengali segregation and the American sense of establishment, Lahiri employs juxtaposed tones throughout Gogol’s conversation with Maxine and uses syntax to amplify the intensity of a deeply emotional experience as Gogol consciously embraces the Bengali aspect of his identity, marking the start of his journey back home.
In Lahiri’s novel, Ashoke’s funeral ceremony takes place after ten days of mourning. The previous passages describing this period are very grave as Lahiri passes the time in a monotonous and somewhat tedious fashion by using short parallel sentences. This repetition depicts the Gangulis going through the motions of everyday life without truly living; though they show little external emotion, the grief shared by each family member could not be more apparent. Even though “a cluster of people attempting to make up for his father’s loss” (179) visit daily, their presence has no effect on the mourning family. In fact, Lahiri’s inclusion of such details only emphasizes the fact that nothing can lessen the Ganguli family’s grief. Instead Gogol uses this time for self-reflection and “remembers his father” mourning when his own parents had passed away and “remembers having to [eat a mourner’s diet] when he was younger…being bored by it, annoyed…” (180). The diction Lahiri utilizes in this particular line contrasts the culturally-appreciative Gogol of the present with the culturally-ignorant Gogol of the past, showing his development. Meanwhile, the structured style maintained throughout the passage moves the audience through the ten days suffered by the Gangulis and preserves the atmosphere of static emptiness. The words themselves are indifferent but powerful nonetheless and the structure neutral; yet it is this unique combination that fosters the somber mood throughout this passage. Lahiri often relies heavily on syntax to convey subtle messages of introspection throughout The Namesake but its use in this passage is especially effective as it illustrates the abyss Ashoke’s death has left in the Ganguli family.
While mourning, Gogol’s American girlfriend Maxine arrives at Ashoke’s ceremony. Her entrance is remarkably unremarkable as Gogol pays her uncharacteristically sparse attention. His mind is with his grieving family and “he doesn’t bother to translate what people are saying [or] to introduce her to everyone” even though “he can tell that she feels useless, a bit excluded in [the] house full of Bengalis” (182). This is the first time Gogol is seen distancing himself from his peers for the sake of his family. Lahiri’s emphasis on Gogol’s remoteness towards Maxine begins to foreshadow their upcoming breakup. In the passage, Gogol perceives Maxine’s grief as insincere, “aware that his father’s death does not affect Maxine in the least” when she gives Ashima her condolences (182). This attitude towards Maxine is very different from the front Gogol has held for the vast majority of their relationship, often prioritizing her wants far above his own family’s needs. This passage as a whole contrasts with majority of The Namesake in terms of cultural conflicts. Whereas most cultural conflicts have emphasized the isolation of their Bengali culture, here the Gangulis belong, blending amongst their peers while Maxine becomes the outlier. Lahiri reverses these conventional ethnic roles as Maxine, representative of the stereotypical American, becomes the stranger in a strange place amidst the intensely cultural event, showing that cultural exclusion may occur both ways.
In addition to foreshadowing and the reversal of cultural roles, Lahiri also employs direct dialogue between Gogol and Maxine to emphasize the rift that has formed between the two as a result of recent events. While in his room, Maxine tries to comfort Gogol with the idea of returning to their previous lifestyle but he rejects her suggestions that it “might do [him] some good to get away” (182). Even though Lahiri describes Maxine’s actions and words as “gentle” to establish her good intent, Gogol’s reaction is clear when he tells her he “[doesn’t] want to get away” from the mourning that has reformed his family (182). Lahiri’s description of their interaction is sparse as she leaves the few words spoken to act for themselves. These words are powerful and carefully selected to carry the theme of Gogol’s mental return home as they lend an authenticity to his developing his growing cultural integration and avoid unnecessary additions.
The lack of extraneous details characterizes the writing style of this passage, enhancing the solemn mood and Gogol’s genuinely conflicted mindset. In this passage, Lahiri dedicates little focus to anything other than Gogol’s internal thoughts, including the religious ceremony. Though the ten days preceding the ceremony are discussed in great detail, the actual ceremony itself is described broadly and with little personal connection. The Ganguli family is emotionally drained and Lahiri’s style throughout this passage further emphasizes the altering effect of their anguish. The tasks and preparations made for the ceremony are constructed with more attention than the ceremony itself, showing that the Gangulis grasp at the opportunity to busy themselves in preparations but again fade into their thoughts when faced with the actual ceremony and accompanying grief. Lahiri compares the somber ceremony to the Bengali parties the Gangulis have thrown for years, noting that “when they shut their eyes, it’s as if it is just another party, the house smelling of food” (181). By drawing a parallel between this sacred tradition and a casual dinner party, Lahiri connects but also differentiates the two, noting the casual attitudes of the guests while also reminding the reader of the serious nature of the ceremony. Though the house may smell and sound the same, the inherent differences between the two situations are only made clearer by the reader’s knowledge that this is in fact very different from a Bengali dinner party.
Through the striking contrast seen between Gogol and Maxine, empty mood established by syntax, and intentional absence of detailed description, Jhumpa Lahiri paints a blurred vision of Ashoke’s funeral ceremony that avoids undermining the focus placed on Gogol’s self-reflection. Lahiri’s combination of past and present works to further the overarching theme of journeying home that is seen throughout The Namesake as Gogol comes to terms with his cultural identity.
Alisa Feng
Ms. Wilson
AP English Literature
September 27, 2013
Mise en Scene Film Analysis
In Mira Nair’s film adaptation of The Namesake, every theatrical effort is made to articulate the change Gogol has undergone in terms of cultural identity. Nair’s focus on Ashoke’s Bengali ceremony as well as her manipulation of sound and lighting effects, setting, and costume design generate mood shifts while emphasizing Gogol’s emerging cultural appreciation by juxtaposing it with Maxine’s apparent discomfort.
In The Namesake, Maxine’s character acts as a foil to Gogol, her very presence a reminder of his past idealized American lifestyle that alerts the reader to the change he has undergone. Director Mira Nair clarifies a very solid distinction between Gogol and Maxine through her use of costume and setting. Throughout the scene, Gogol and Maxine differ drastically in appearance: Gogol is wrapped in traditional Bengali mourning robes and Maxine arrives in a modern black dress. The opposing colors of white and black also serve to highlight a major cultural difference. Though black is appropriate attire for Western funerals, white is the color of mourning in many Eastern countries including India. From the moment of Maxine’s entrance, Nair establishes differences between her and the culture she has entered by walking into the Ganguli house. Nair extends Maxine’s segregation throughout the scene when the only other American woman, Ashima’s librarian friend, approaches her. Though American herself, even she is dressed appropriately in modest white clothing and blends in with the other Bengalis, in effect further accentuating Maxine’s isolation. When Gogol appears, he sports a shaved head, a cultural mark of mourning, and traditional white robes. Throughout the ceremony, he is visually integrated with his cultural roots while Maxine is stuck on the outside looking in, observing from a distance the new lifestyle Gogol has come to know.
In addition to costume, Nair utilizes setting to blend and segregate her characters accordingly. The living room is clean and lightly colored, complimenting the white robes of the Bengalis in attendance. This allows Gogol to blend with his surroundings and establishes a sense of belonging. In contrast, Maxine stands out very prominently in the living room, a contrast which is emphasized by the overhead camera angle that pinpoints her black figure in a sea of white. However, when the two are seen in Gogol’s bedroom, Maxine appears to fit in whereas Gogol’s presence seems awkward amongst the various posters and guitar covers. This reversal of roles dependent on setting emphasizes the change Gogol has recently undergone, even the bedroom he grew up in seems foreign. The bedroom itself is as a remnant of Gogol’s previously Americanized lifestyle which he pursued throughout his youth as he vehemently rejected all Bengali influences. Nair’s depiction of the room and the contrast created with Gogol and Maxine’s visual appearance solidify this point, drawing attention to the differences between the old Gogol and the new.
While this underlines Gogol’s sense of belonging, Maxine’s discomfort is shown just as clearly. Nair accomplishes this through sound and lighting effects which she uses to emphasize mood shifts throughout the scene. During the ceremony, Gogol is seen in a warm glow which, combined with his meditative posture, gives the effect of quiet enlightenment. However, when the camera pans over Maxine, her face is downcast and slightly shaded. The lighting seems dim and washed out and draws attention to Maxine’s troubled expression as she observes Gogol. When conversing, there is a noticeable lack of non-diegetic sound and the resulting silence lends an aspect of candid awkwardness to their discussion that enhances the sincerity of Gogol’s responses. In contrast, Maxine’s harshness during her outburst following Gogol’s rejection clashes noticeably with the established stillness. During this outburst, Nair inserts subtle hints in dialogue to allude to Gogol’s Americanized past. Maxine refers to him as “Nick” (Nair) and this seems blatantly out of place, disconnected from the robed man sitting on the bed. When Gogol rejects her proposal to scatter Ashoke’s ashes with him in India, he tells her “it’s a family thing” (Nair) marking a turning point in his prioritization of peers and family.
The significance of this scene as the pinnacle of Gogol’s cultural enlightenment is underscored by Nair’s focus on the religious ceremony as it takes place. Nair dedicates majority of the scene to the mindful portrayal of this ceremony, paying special attention to cultural technicalities. Evidence of Nair’s cultural-conscientiousness is scattered throughout the ceremony, partly seen in the framed photo of Ashoke that hangs in the background during the ceremony, delicately adorned with a wreath of flowers as tradition would have called for. During the ceremony itself, Gogol is portrayed as intensely unified with his cultural values, more integrated into his Bengali roots than ever before. The depth of Gogol’s involvement is seen in his posture and participation throughout the ceremony. His expression is pensive as a priest recites lines in Sanskit and the combination of visual and aural effects results in a tranquil mood of serene acceptance.
Nair’s combination of sound and lighting effects and focus on the corporal ceremony that marks Gogol’s transition from culturally apathetic to appreciative and understanding also underscores The Namesake’s predominant theme of embracing identity. Nair reveals deeper meanings surrounding acceptance of the identity complex through Gogol’s physics actions during the ceremony showing his active pursuit of a new lifestyle.
Alisa Feng
Ms. Wilson
AP English Literature
September 30, 2013
Compare and Contrast Essay
In The Namesake, Gogol Ganguli suffers what may be the most melodramatic identity crisis of modern literature. After evading his heritage for the vast majority of his youth, tragedy brings him home, forcing him to confront his cultural identity. It is here that Gogol realizes just how far he has run from home and turns back on the threshold of realization to embrace the Bengali heritage he had always been so determined to bleach. Though both literary and film adaptations emphasize this turning point of cultural acceptance, author Jhumpa Lahiri does so with detailed description focused on Gogol’s shifting mentality and indifference towards the ceremony itself while director Mira Nair executes the opposite, portraying the ceremony as a culturally sacred experience and magnifying Gogol’s developing identity through its procession with the aid of lighting effects and striking visual distinctions. When combined, the differences between these two works expose various facets of Gogol’s cultural mentality and identity that one alone could not define.
In Lahiri’s novel, the passage dedicated to the ten days of mourning following Ashoke’s death is largely spent chronicling Gogol’s introspection and remembrance of his father. A time-honored Bengali custom, the “mourner’s diet…that he and his mother and Sonia eat”, provides an outlet for his thoughts, and this ritual becomes “the one thing that structures their days” while everything else including “the calls, the flowers…the visitors…mean nothing.” (180-181). Through these stylistically analogous lines Lahiri shows that comfort rests only in solitary contemplation rather than the distractions of visitors and superficial grievers. The Gangulis find that in this meal alone, this moment shared only by their family, “is their grief slightly abated” as their lives are brought back to a raw and intimate setting where thoughts and emotions alone hold value (180). Lahiri’s syntax and parallel structure throughout this passage patiently carry the reader through the ten days of Gogol’s reflection on the distance he has drawn in his relationship with his family. In contrast to Lahiri’s detailed accounts of this thoughtfulness, when friends are invited to a religious ceremony on the eleventh day, the mood shifts from somber to slightly social and the writing loses its pensivity. The ceremony is depicted very broadly and as a rather tedious affair for the Gangulis to carry out, comparative to “just another party, [with] the house smelling of food” (181). The ritual is “conducted on the floor in one corner of the living room” and “Gogol is asked to sit... as a priest chants verses in Sanskrit.” (181) Here, Lahiri’s diction establishes an aloofness from an informal ritual held slightly out of the way in which Gogol is asked to participate without any personal display of sincerity. The sparse detail used to describe the ceremony itself allows Lahiri to instead channel Gogol’s shifting cultural outlook through his internal thoughts, exhibited most clearly during his interaction with Maxine. Lahiri makes note that “he doesn’t care how the house, how the pile of guests’ shoes…might appear to her eyes” and that even though “he can tell that she feels useless, a bit excluded in this house full of Bengalis…he doesn’t bother…to stay close by her side” (182). The ideas that “he doesn’t care” and “he doesn’t bother” mark a shift in Gogol’s character as, for the first time, he prioritizes the needs of his family and cultural bonds above the wants of Maxine and the desires of his “Americanized” lifestyle. Lahiri’s use of Gogol’s conscience reinforces the power of thought to change him as a person. This change is then shown in Gogol’s conversation with Maxine; Lahiri makes it quite obvious to the reader that his attitude towards her is removed by revealing more unspoken thoughts, including his sour awareness that “his father’s death does not affect Maxine in the least” (182). Through this point of view, Gogol is shown turning away from Maxine and all that she embodies when the choice is presented very clearly: he can either retreat back to his idealized Western ways or embrace his new yet bittersweet cultural identity and familial loyalty. Temptation to escape from his heritage as he has done all his life is met with a blunt rebuttal, “I don’t want to get away”, marking a major turning point in Gogol’s cultural perception (182).
While Lahiri’s book focuses on the depth of Gogol’s self-examination, director Mira Nair visually portrays this passage with almost exclusive focus on the physical ceremony that takes place, nevertheless revealing his thoughts through visible actions. The ten days of mourning and introspection are unmentioned and instead the scene is introduced by Maxine entering the house while a grieving Bengali couple is shown in the background. This establishes a melancholy atmosphere from the very beginning, showing the passionate grief of the guests that Lahiri portrayed as shallow. The somber mood established by Nair is carried throughout the scene by the washed out lighting and lack of non-diegetic sound, attributing to the graveness of the ceremony. Nair also relies heavily on costume to illustrate the cultural differences between Gogol and Maxine, Bengali and American. Similar to Lahiri’s original, Maxine arrives in a fitted black dress with an open back and immediately contrasts with the modestly white-wrapped Bengalis filling the room, a disparity that is sharpened by the overhead camera angle. The visual differences between black and white also highlight cultural discrepancies more clearly than Lahiri’s textual depiction does; while black is appropriate for Western funerals, white is the accepted color of mourning in Eastern countries. Gogol himself is seen in traditional Bengali attire for the first time and his shaved head, a divergent but effective theatrical flourish by Nair, provides an additional hint to his developing cultural appreciation as the ceremony begins. Here, the photo of Ashoke is delicately adorned, contrasting with Lahiri’s description of a “cropped photo…enlarged at CVS”, demonstrating the careful thought put into the ceremony’s portrayal (182). During the ceremony which takes place in the center of the living room rather than a corner, the camera zooms in on Gogol and Maxine, visually juxtaposing his developing empathy for his culture with her discomfort. The lighting dulls Maxine’s downcast features but casts a warm glow on Gogol, lending an enlightening effect especially when combined with his meditative posture. In addition to costume choice and lighting, Nair also utilizes setting and décor to segregate and blend Gogol and Maxine accordingly; though Maxine stood out amidst the Bengalis, she later fits in with Gogol’s “Americanized” room while he becomes the misfit. Gogol’s apparent contrast with his own poster-and-guitar studded room serves to enunciate the change, both physical and mental, he has undergone. While they converse, Nair relies on subtle changes in Gogol and Maxine’s facial expression to substitute for Lahiri’s tone manipulation as a foreshadowing tool while keeping the scene clear of unnecessary visual and non-diegetic embellishments. The resulting stillness contributes to the awkwardness of this scene and, as Maxine’s features are thrown from soft lighting into shadow, it is not hard to predict what follows. Nair’s foreshadowing leads up to Maxine’s frustrated outburst towards Gogol and his attachment to home. At last Gogol is seen identifying with his heritage more than he does with the “American way” and it seems out of place when Maxine calls him “Nick”, Nair’s subtle yet significant allusion to his Americanized past. Maxine’s all-American presence as a foil and the discourse produced by lacking theatrical ornamentation compounded with the isolating effect of Nair’s settings accentuate Gogol’s quiet cultural revival and restoration to his Bengali roots.
Although Lahiri’s bestselling novel and Nair’s award-winning film relay similar messages of cultural acceptance, each utilizes unique means of passage. Lahiri leads the reader into Gogol’s thoughts, allowing for analysis of deeper meanings hidden beyond a physical reality while Nair invites the audience to Ashoke’s funeral ceremony as an external observer of internal shifts. Diverse as they are, both approaches are likewise effective in illustrating what is arguably the most significant turning point of Gogol’s cultural existence; it is in these elements that thematic similarities core to understanding Lahiri’s message of cultural identification are established.