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Literature and English identity
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“Home is where the heart is,” an old proverb affirms. But this did not always ring true in the life of Gogol Ganguli. In The Namesake, by Jhumpa Lahiri, Gogol was the son of Bengali immigrants who resided in the Northeastern United States. Gogol, many times, struggled with his identity, and one of the major parts of identity is the place one lives. Throughout Gogol’s life, he lived in several different houses and places, and felt differently about each one, fitting into some and feeling strange and out of place in others. At some times, he was living with his family, and at other times, with roommates or girlfriends. Gogol Ganguli toggled between contentment and dissatisfaction in the various places he resided throughout his life. In Gogol’s childhood home, he experienced contentment. He lived in a new suburban home at address 67 Pemberton road. Gogol felt at home and comfortable there, even though the house and property were not finished and landscaped when they first arrived when he was four years old. For the first few months …show more content…
Gogol lived in dorms with roommates during his college years. Gogol liked to be out of the house and on his own, without his Bengali heritage following him everywhere. In college, Gogol was surrounded with Americans: he lived with Americans, studied with Americans, and made friends with Americans. For all of his growing up years, Gogol tried desperately to escape his Bengali heritage, and consequently, “it [was] his room at Yale where Gogol [felt] most comfortable,” (223). Especially now that he had changed his name to Nikhil, he felt like a different person in college than growing up. He felt like he could be accepted into the friend groups at Yale and live without others in suspicion of his strange name. Gogol felt free here, like a weary desert traveler that had finally been able to cast his heavy pack to the side and take a long drink out of the cool, clear
Without people in the world to call him Gogol, no matter how long he himself lives, Gogol Ganguli will, once and for all, vanish from the lips of loved ones, and so, cease to exist. Yet the thought of this eventual demise provides him no sense of victory, no solace. It provides no solace at all…
Eboo Patel describes the challenges of finding his way in life in the suburbs of Chicago, Illinois. While Patel faced crises of identity later in life, his adolescence was a time for self-discovery on a level any adolescent can relate to. "… identities can shift in an instant. I went from being a
Home is a four letter word that has a deeper meaning than a place one resides in for self-comfort. The ideology of home infers that it offers a place of security surrounded by family who provides one with internal happiness. In the video “Back Home” by Andy Grammer, the dynamic text conveys that even when life takes you places unexpected whether, from fame, rejection, or success, you can always depend on home to remain sane and original. Throughout the video Grammer portrays how fame sometimes gets overwhelming through detail in the video and the paralanguage used by Grammer throughout the song, Thus causing the idea and the feeling of home to be more appealing. Grammer emphasizes on knowing your origin and loving where you come from. With the usage of black and white words with subtle hints of red and green, Grammer captures his audience attention by erasing almost all color to simply focus on the true beauty and dignity of home.
Throughout the novel Gogol begins to feel more compelled to his Bengali life. Towards the end of the book Gogol becomes more acquainted to his Bengali life and his family, slowly slipping away from the American identity that was once present to him. Truly inside he has a background of Bengali culture there for him when he needs it. As for Gogol’s American identity as Nikhil, something seen as fake to him, was only an experience. It was an experience Gogol, a Bengali child, had grown up to live.
“Home is where the heart is.” In The House on Mango Street, Sandra Cisneros develops this famous statement to depict what a “home” really represents. What is a home? Is it a house with four walls and a roof, the neighborhood of kids while growing up, or a unique Cleaver household where everything is perfect and no problems arise? According to Cisneros, we all have our own home with which we identify; however, we cannot always go back to the environment we once considered our dwelling place. The home, which is characterized by who we are, and determined by how we view ourselves, is what makes every individual unique. A home is a personality, a depiction of who we are inside and how we grow through our life experiences. In her personal, Cisneros depicts Esperanza Cordero’s coming-of-age through a series of vignettes about her family, neighborhood, and personalized dreams. Although the novel does not follow a traditional chronological pattern, a story emerges, nevertheless, of Esperanza’s search to discover the meaning of her life and her personal identity. The novel begins when the Cordero family moves into a new house, the first they have ever owned, on Mango Street in the Latino section of Chicago. Esperanza is disappointed by the “small and red” house “with tight steps in front and bricks crumbling in places” (5). It is not at all the dream-house her parents had always talked about, nor is it the house on a hill that Esperanza vows to one day own for herself. Despite its location in a rough neighborhood and difficult lifestyle, Mango Street is the place with which she identifies at this time in her life.
In “My Two Lives”, Jhumpa Lahiri tells of her complicated upbringing in Rhode Island with her Calcutta born-and-raised parents, in which she continually sought a balance between both her Indian and American sides. She explains how she differs from her parents due to immigration, the existent connections to India, and her development as a writer of Indian-American stories. “The Freedom of the Inbetween” written by Sally Dalton-Brown explores the state of limbo, or “being between cultures”, which can make second-generation immigrants feel liberated, or vice versa, trapped within the two (333). This work also discusses how Lahiri writes about her life experiences through her own characters in her books. Charles Hirschman’s “Immigration and the American Century” states that immigrants are shaped by the combination of an adaptation to American...
Gogol basically grows up his whole life not feeling comfortable with his identity and who he is. Gogol doesn't feel like he belongs in his parents Bengali family, and he somewhat feels like he is living in between cultures sometimes. Growing up in America has made him feel like an outsider because his parents were always doing things in their culture. Throughout the book Gogol makes great efforts to find out who he really is and he does that by moving away from home. Gogol’s definition of home changes whether it's by getting a new girlfriend or moving to a new place he's not familiar with.
...o assimilate into the society by entering school with a more acceptable name, but Gogol refuses. The acceptance of the society has pressured him to change his name in college, and to hide Gogol from the society. Till the day Gogol understands the reason why his father chose to name him Gogol instead of an Indian or American name, Gogol experienced a lot of changes, as a second generation American immigrant. Gogol has been assimilated to different culture than he ethnically is. At the end, through family, Gogol has come back to his roots. Gogol was not given an Indian name from his Indian family or an American name as he was born in America, to emphasize an individual try to assimilate into a different culture, but in the end, he is still bonded to his roots as the person he ethnically is.
Nilanjana Sudeshna Lahiri, an Indian by descent, was born in London in August 1967, to a Bengali immigrant Indian parents. “Jhumpa” is the nickname easier for the teachers remember his name. The Lahiri family moved from England to Rhode Island when Jhumpa was two years old. Her father was a librarian at Rhode Island University and her mother was a school teacher. At age of seven, Lahiri started to embrace writing about what she saw and felt. While growing up, Lahiri lived two lives: An Indian at home and An American outside of the home. Despite of living most of their life in the western world, Lahiri’s parents called “Calcutta” their home unlike Lahiri who thought Rhode Island as her hometown. Lahiri always felt her family had a different li...
These days, many migrants gather together and make their own small place to hold their cultures. Because their cultures are more a blend of multiple cultures rather than a traditional, they are different each other. However, even though a mixed culture seems like a unique non-traditional, it is as same as one strong culture. In the story, Culture is Ordinary, Raymond William says, “every human society has its own shape, its own purposes, its own meanings. Every human society expresses these, in institutions, and in arts and learning” (93). I have visited Little Saigon, Westminster where was a little town for Vietnamese immigrants. This little society has built unexpected strong identities by creating many Vietnamese business stores and other cultural materials. Little Saigon people have built and shaped their own strong mixed cultures and identities by accepting new observation and learning of American and other Asian different cultures.
Another instance in which his anguish at her abandonment is connoted is when the “house [echoes] with desertion” (Carter 50). Despite the fact that the house is rather grand and is beautifully furnished, there fails to be the reverberations of any sounds that would deem the dwelling alive. Rather, it is only the sounds of emptiness which engulfs the house. Comparatively, the mindset of the Beast is st...
The story begins as the boy describes his neighborhood. Immediately feelings of isolation and hopelessness begin to set in. The street that the boy lives on is a dead end, right from the beginning he is trapped. In addition, he feels ignored by the houses on his street. Their brown imperturbable faces make him feel excluded from the decent lives within them. The street becomes a representation of the boy’s self, uninhabited and detached, with the houses personified, and arguably more alive than the residents (Gray). Every detail of his neighborhood seems designed to inflict him with the feeling of isolation. The boy's house, like the street he lives on, is filled with decay. It is suffocating and “musty from being long enclosed.” It is difficult for him to establish any sort of connection to it. Even the history of the house feels unkind. The house's previous tenant, a priest, had died while living there. He “left all his money to institutions and the furniture of the house to his sister (Norton Anthology 2236).” It was as if he was trying to insure the boy's boredom and solitude. The only thing of interest that the boy can find is a bicycle pump, which is rusty and rendered unfit to play with. Even the “wild” garden is gloomy and desolate, containing but a lone apple tree and a few straggling bushes. It is hardly the sort of yard that a young boy would want. Like most boys, he has no voice in choosing where he lives, yet his surroundings have a powerful effect on him.
Throughout the novel, Ashima and Gogol are at opposite perspectives of their view of “home”. In the beginning, while Ashima is focused on family and prefers to remain close to her Bengali culture, Gogol’s only wish is to become independent and veer away from his Bengali culture. These desires of independency and having a traditional close-knit family direct Ashima and Gogol’s decisions and views of home. Whereas Ashima is focused on family, Gogol continues in his attempt to become fully independent and escape from his home and the clutches of his insistent, traditional parents. After living in New Haven for a few years, Gogol decides to move to New York. His reasons for moving to New York are mainly because...
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.
He avoids telling them for as long as he can, even if it keeps him from seeing Ruth “But such a trip would require telling his parents about Ruth, something he has no desire to do” (Lahiri 115). To him, his parents represent Bengali culture, something he is not sure he wants to be a part of. He tries to live entirely without their opinion, driving them out of his personal life almost entirely. Although he is trying to separate himself from Bengali culture, he still remains only a few hours away from home, still visits every other weekend. At the end of the day, Gogol is still connected to his home and culture in a way Ruth is not. Ruth seeks adventure in Europe choosing to study abroad in Oxford, London. “Instead of coming back from Oxford after those twelve weeks, she’d stayed on to do a summer course” (Lahiri 119). In fact Ruth wants to go back to England for graduate school, something Gogol has no real interest in doing. His connection, even if subconscious ends up being the driving force in Ruth and Gogol’s break up. He fails to learn from his mistakes with Ruth, however, and the next girl he dates is even more different than