Reflection: "The Namesake"

The Namesake Reflection

            At first while reading The Namesake by Jhumpa Lahiri, I found that Gogol’s love life was unfortunate. In my blog post “It’s a Love Story,” I reflected on how I was so happy for Gogol and his new love Moushumi. But it terns out everything is not what it seems, and in the end I was rooting for Gogol all the way when they split up. However, that is the point though, how throughout the novel the events and characters most of the time become the polar opposite of what you originally had thought.

            I loved Gogol in the beginning of the novel, because he was a kid. He conformed to everything including what his parents wanted and somewhat of what the world wanted of him being a good American Indian son. I liked how Ashima, “She misses the free end of her sari as they walk together.” (Lahiri 50) Gogol is so sweet, innocent, and most importantly willing to follow his mother or in a subtle way willing to follow the Indian tradition, hence the sari. As I said before, by the end of the novel Gogol becomes the polar opposite of what he was destined to become as a child. “And then he remembers that his parents can’t possibly reach him: he has not given them the number, and the Ratliffs are unlisted. That here at Maxine’s side, in his cloistered wilderness, he is free.” (Lahiri 158) He hates his name, the culture, the rules, the differences, and that he is not given the opportunity to choose what he wants to go in life. He doesn’t want to marry an Indian girl or become a doctor. Instead he wants to be the All-American, and marry the rich white girl whose parents are easygoing, like Maxine.

Gogol makes extreme rash decisions in his life to get as far away as he possibly can from his problems. One being his name and another being his Indian heritage Maxine is complete opposite of what he was in the beginning, a reserved Indian boy afraid to talk and would rather read. Lahiri wants to show us that it is inevitable for us to agree to everything that is put in front of our faces, and like Gogol we want to rebel and search for who we are in actively searching for an identity that we want, or think we know we are.

In my blog post, I thought that I knew who Mouchumi was. And I assumed that she was the perfect fit for Gogol, because she was Indian, a book worm, lover of the arts, intelligent, and could relate to Gogol because she had many other similarities with him. “ I just love how even though both of them from early on in their lives decided to break away from whatever their parents wanted, such as who their parents picked for them to marry. But since they knew each other from before in their lives there is a sense of their own past within the other, a different perspective of what they could have been like, how they were seen, etc. She is only known as a book reader to him from before, but as he sees her, "He had not expected to enjoy himself, to be attracted to her in the least." (Lahiri 199) He is so unexpectedly pleased by her company and ability to relate to him, and he loves how she is natural, how he can get to know her for what she ism her story her struggle, and love every detail about her. "He wonders what is might be like to kiss her on the mouth." (Lahiri 205) He wants her, to love her, and it doesn't matter that their mom's set them up or that she is of course Indian.” (“It’s a Love Story”) In the blog post I was so quick to judge the hopeful good intentions of their love, and forgot how Lahiri makes everything about Gogol and his decisions overcomplicated and ending up being suck sticky situations biting him later.

I have learned from Lahiri, well first to never trust characters in their choices and think that they know what their doing. Anyway, but seriously, I have learned that people are irrational and stubborn about what they think they already know about themselves, therefore making them work harder to find who they are, what they want, and also who they will love. In the end of the novel Gogol finally sits down to read, listen, and learn. He lets go of his concept of what he needs to be, what he thinks he wants, and just allows himself to be immersed in the mystery of life instead of constantly beating at the gates of hell, demanding the life’s secrets, regrets, or knowledge. I don’t want to not accept what life throws at me. I want to be open to all possibilities and never close any doors purely because of my emotions. To be free I don’t want to act out and think happiness will be the opposite of what I have, but instead think it though, pay attention to my surrounding, and most importantly stop and smile.

Poem Reflection: "We Shall Bring Forth New Life"

After Sydney’s peer lesson on the poem, “We Shall Bring Forth New Life,” by Sadako Kurihara, I thought that it demonstrated courage, service, and sacrifice. Kurihara says that an individual even at their lowest point in life is still obligated to not think of their own poor death but instead think about the life that can’t protect themselves. I learned that acting selfless in the most crucial moments of our lives is rewarding not only to us but appreciated by anyone who values life.

            In the poem the nuclear bomb on Hiroshima has just hit, and the people are feeling the deathly aftermath. But, through all this “candle less darkness,” (3) and “the stench of death,” (5) there is still “a wondrous voice” (6) saying that the baby is coming. I think that is just beautiful. In this frenzy of anger, death, blood, hate, tears, and basically the worst day of these people’s lives Kurihara describes the cry of life as wondrous. As if it is the saving grace to their problems, and this proclamation of life is to an extent is hope fighting to be conceived and nurtured. I have learned we cannot give up in life, and that there will always be hope in the next day we see and in the next breathe just as long as we see it as “wondrous”.  

            As the poem progresses from the announcement of the women going into labor the people begin to forget about their problems to help the woman and the birth of her child, because that is what is most important. All the Japanese are emotionally and physically suffering and yet they all forget their pain to help, “The others forgot their own pain in their concern: What could they do for her having not even match to bring light to the darkness?” (11-12) Every person in the poem was not thinking selfishly about themselves, but they wanted to do anything to help this woman and her baby. This really just proves how humanity is worth fighting and dying for. I have conceptions all the time that people are just selfish and only motivated to do things for their own benefit, but after reading this poem it really proves to me that we shouldn’t give up on our morals yet. I should not judge others before they prove who they really are, because in the poem you are tempted to only think about the people melting in the streets and all you hear is suffering. But this poem doesn’t embody the suffering, it wants to focus on the courage of the people to forget about their lost brothers and the sacrifice they are all willing to give in exchange for one innocent other to live the next day.

            At the end of the poem, the midwife steps in and helps the woman deliver her baby. “And so life was born in the darkness of that living hell.” (17-18) And so the baby is born and the midwife dies. As Sydney said in her presentation, “It’s death vs. life, and life is born and conquers.” The midwife gave the ultimate sacrifice for a baby she doesn’t know, and she proves in the mist of all this chaos and destruction life still triumphs death and will prevail. This poem showed me that there always will be hope for a new and better life.

"It's A Love Story"

Oh my Gogol!! He has found love!! A happy, loving, and caring relationship in which he is head over heels in love with this girl. No offense to Ruth or Maxine, but Gogol did not have a healthy relationship with either of them. Ruth, left for England and they just never really were good for each other, such as when they do see each other again they just start fighting. And then Maxine, woah she sure is a handful. I never really thought that she was the nicest and most caring girlfriend of Gogol's so I was kinda glad when they broke up.

Moushumi, she is the best person for Gogol ever. I just love how even though both of them from early on in their lives decided to break away from whatever their parents wanted, such as who their parents picked for them to marry. But since they knew each other from before in their lives there is a sense of their own past within the other, a different perspective of what they could have been like, how they were seen, etc. She is only known as a book reader to him from before, but as he sees her, "He had not expected to enjoy himself, to be attracted to her in the least." (Lahiri 199) He is so unexpectedly pleased by her company and ability to relate to him. He loves how she is natural, how he can get to know her for what she ism her story her struggle, and love every detail about her. "He wonders what is might be like to kiss her on the mouth." (Lahiri 205) He wants her, to love her, and it doesn't matter that their mom's set them up or that she is of course Indian.

Go Gogol Go

Gogol, that poor fellow. After reading through Jhumpa Lahiri's "The Namesake," a little bit further than last time, I have discovered that Gogol Ganguli is trying so desperately to find his identity. What a ride he has been on so far from being confronted with a new name, going to college, searching for his passion, meeting challenges with his past and present, and finally working through his relationships.

First, Gogol from the beginning is given from his parents his good name. But is as a kindergardener Gogol doesn't understand the custom of Bengali pet names and good names. "He is afraid to be Nikhil, someone he doesn't know. Who doesn't know him." (Lahiri 57) Gogol wants to be what he knows, what his parents know him as, and this idea of not "being" Gogol is unheard of and what he doesn't know.

Second, Gogol goes to Yale. His proud parents are excited for his bright future that will include success and plenty of stability. But that is not what Gogol, now wanting to be called Nikhil after claiming he hates the name Gogol, wants to be. Nikhil wants to take courses in drawing, and look into architecture. As Nikhil he wants to go to parties and be more adventurous than Gogol. "But now that he's Nikhil it's easier to ignore his parents, to tune out their concerns and pleas." (Lahiri 105) He wants to be nothing that Gogol was, including obedient to his parents, putting respecting of his culture than his desires, and other submissive attributes of Gogol. He wants to be outgoing, charming, fun, and the guy that you want to be around. But is that really what he wants or what he wants to become.

Another point, Gogol has to face difficult challenges. Such as, his father's sudden death. Throughout the book we see as Gogol grows up. Progressing through the stages of being a teenager, hating his parents, and as a young adult, wanting his own life away from his parents. He learns about the train accident that his father was in, and finds a connection to his father he never had before. And his father shows his emotion for him saying, "You remind me of everything that followed (the accident)." (Lahiri 124) Gogol experiences emotion from his father, a rare sign, which he never sees. And connects with his name as he has never done before. With that in mind, this moment of father and son, I think helps Gogol continue on after his father's death. He moves on, but still keeps the good memories of his dad.

First Thoughts of "The Namesake"

So I have just read the first two chapters of Jhumpa Lahiri's The Namesake, and honestly I think so far it is the best book that I have read this year. The Indian culture, the trials, the people, etc. is so interesting and new to me, I really like reading about it.

First, so the main characters, Ashima and Ashoke, both from Calcutta, India. Having just gotten married, which was arranged by their parents. ""I love you sweetheart,' Words Ashima has neither heard nor expects to hear from her won husband; this is just how they are." (Lahiri 3) I find that arranging marriages is awful, and I would hate to be in that type of situation. But both Ashima and Ashoke accept what their traditions are and don't ask for anything beyond of what they know they will get. As they come to America and begin their lives together, it is difficult for Ashima. She is away from her traditions that she does know so well. She misses her family, and her way of life. "I;m saying I don't want to raise Gogol alone in this country. It's not right. I want to go back." (Lahiri 33) She is alone, no family, no friends, and now she has to learn on her own and raise a baby. I can't even fathom what she is thinking of or what she is feeling. All I would do is cry, cry for someone to understand and help me through this, but she has no one.

 The baby, oh the baby boy. There is so much for him America, a small intimate family. But then again he is missing so much according to his mother, his grandparents, uncles, aunts, food, culture, and he doesn't even have a proper name for himself. He is named after the author of the book that "saved" his father in a near death encounter on train. This boy has opportunity, and his parents are hoping they have done the right thing for him. I love that his parents love him, would do anything for him, give up their home for him. I respect them for that, and I would love to do that for my family, in hopes for their brighter future.

Notes From Underground Part 1 ... The Rant Begins

Well recently I have read Part 1 of Fyodor Dostoevsky's Notes From Underground, and so far I have been so frustrated with this Underground Man. First, I really liked how he was saying that men should be individuals. Yes, men be independent work your stuff, go into the world be men, be your own man. I thought that was great words of wisdom from the 40 year old.

However, I thought that he was crazy. No joke, I was pretty sure he was drunk, hungover, or somewhat mental ill. He was rambling on and on about being angry, upset, or spiteful. The man could get enough spite, but he actually kept saying how actually doesn't, sadly. I was getting angry, because he kept changing his mind all the time, like how girls change their clothes, because you know he's hot and he's cold, never mind. Anyway, seriously the man could not keep his story straight. Before, he repeatedly stated that Mother Nature is to blame, because she gives us all our "natural" flaws. Ok, so you don't like who you are get over it and get a make over or something. But, of course he says that no man should or can't ever change who he is, ever. Wow, excuses, excuses. The whole time it was like listening to a broken hearted teenage girl, with drama all over, and frankly I was done listening to his sad life story. In the end, I'm curious to how this Underground Man will turn out, will he finally get a life, or just join some nursing home and play some bingo with people his own age. Onto Part 2 !!

Lion Project Essay

Lion Project Essay

Achebe, in his novel Things Fall Apart, and Tonuouchi, and in his play “3 Year Swim Club,” both break single stories through culture, language, and strong intelligent individuals. Achebe proves to us that the Nigerians are not savage, but are traditional through their Ibo language and have a structured system of society and rules. Tonuouchi proves to us that the Japanese Americans on Maui are people who not only work on the plantations, but also are athletic individuals and capable of fulfilling and chasing after goals they have for better futures. Achebe and Tonuouchi both show that the Nigerians and the Japanese Americans on Maui are people, they have beauty and flaws, wisdom and incompetence, excellence and sins. Achebe and Tonuouchi break the single story of these people through expressing their emotion, hardships, and accomplishments.

            Achebe shows us that the Nigerian people are not barbarians, starving, and stupid, because of their traditions and structured system. The Ibo people have many traditions that show each other respect and reverence through their complex religion. The people want to show their adoration and thanks to their guests, elders, and any other welcomed man, “He worshipped them with sacrifices of kola nut, food and palm-wine, and offered prayers to them on behalf of himself, his three wives and eight children.” (Achebe 14) Achebe wants us to see that the Ibo people had beautiful traditions that included a simple ritual integrating parts of nature. Such an emotional and well-kept act proves that these people are fully capable of beautiful works of art, and maintaining this emotional tradition.. He allows us to see a normal and typical Nigerian praying, but he proves that they have a religion that is strong and influential in their society. The people are devoted to their religion, proving that they follow their culture with an open mind and heart, allowing themselves to be protected and saved by their religion.

Continuing, the Nigerian people have a structured law, by which they stick by and have no doubt in.  “The law of Umoufia is that if a woman runs away from her husband her bride-prince is returned,” (Achebe 92) Achebe proves that there is a system, laws, punishments, and people who are apart of this working system. This law has a heavy influence by the religion, therefore making it just and fully understandable to the people. The law is also strong, where no one doubts in its judgment, there is a trust between the people and their law, what is put down is right for the guilty and for their society. The “white man” before always judged African people as being incompetent, and incapable of participating in conventional system working areas, such as a legal system. They have a “judge” or a head council of men to make a just decision, and we see that they have strong intellectual abilities and have a smart sense of what is equal and what is not.

Achebe also proves to us that these people are just as flawed as anyone, because he wants us to connect to them as bothers and sisters, and for us to get on the same level as they are. To look at the Ibo people as we see ourselves, we have to acknowledge that they are just as tempted to evil as the rest of the people in this world, and are not perfect. “Now he has won our brothers, and our clan can no longer act as one. He has put a knife on the things that held us together and we have fallen apart.” (Achebe 176) He shows us that the Nigerians, who were held together strongly by family and passionate obligation to their society, can be broken. These people try so hard to be one and together, but when they are given a new alternative, and with the new generation on the rise, the love for family and traditional bond slowly fades away. Achebe gives us a new perspective of the Nigerian people, he wants us to see that they are full of family, society, religious fears, and determined people.

             Just as Achebe has shown us the love of family and adoration of religion with the Ibo people, Tonuouchi proves to us that the Japanese Americans on Maui are people who not only work on the plantations, but also are athletic individuals and capable of fulfilling and chasing after goals they have for their futures.  Lee Tonouchi is a Japanese American author who writes novels and plays, mostly in pidgin, the Hawaiian way of speaking. He wrote the play “3 Year Swim Club,” which is about Japanese Americans on Maui, during the 1930’s and 1940’s era, working and growing up on the plantations. The kids were coached by Soichi Sakamoto to swim in the irrigation ditches,  and made it their goal to make it to the 1940’s Olympics. They worked tirelessly and surprised the world by winning meets. However, the 1940’s Olympics was cancelled, because of the World War.. And yet the Maui swimmers still continued in their swimming success, never forgetting their motto, “Olympics first, Olympics always.”

Tonuouchi sees that Japanese Americans on Maui are associated with being only plantation workers, but they were much more. He proves to us that these people are capable and passionate athletes, who not only have goals of greatness beyond the plantation fields, but that they achieve their goals of becoming legends. They pursue their dreams, but they were also able to make a life away from the plantation, they chose a different path and became a huge success. Tonuouchi coming from the Hawaiian islands has a great sense of pride for his home, and  “Wants to show others that Hawaii can represent the country just as well as the mainland,” (Site 1) Tonuouchi wants us to look at Hawaii in a different limelight, we all know about it’s sunny beaches, beautiful flowers, and palm trees, and when Hawaii comes to mind most people think “vacation.” The single story of Hawaii also goes along with the lazy islander status, islanders who just surf, make a shaka out of their hands, and dance hula in grass skirts and coconuts. He proves that these Hawaiians are not just lazy islanders who only eat potluck or plate-lunch and wear Hawaiian shirts, but are capable of becoming representatives of America, that these people are just as red, white, and blue as the New Yorker, Californian, or Texan. These Japanese Americans on Maui want to live the American dream, to be seen by the public as America’s best swimmers, the best in all of the United States. They want to prove Hawaii could give talented, smart, and capable athletes just as anyone one else in America.  

The members of the 3 Year Swim Club were determined to fulfill their Olympic dreams, and to do so they work hard to get better whenever they could. Their work ethic spreads from the plantation workers, “Steady, steady,” keep working, never give up, and your future is bright was what the workers would live by, as did the swimmers. Tonuouchi says, “To me the story was inspiring because being from Hawaii, we always think that we’re second class to the US continent. We always think things and people from the continent are better than things from over here. But then (I) thought, here’s some guy, Soichi Sakamoto, he (created) new swim techniques that people from the mainland wasn’t using at the time,” Tonuouchi shows us that not only were they smart but the Japanese Americans on Maui were revolutionary in the sport of swimming. They creatively came up with ideas that no one used at the time to improve swimming, the swimmer, and yet still keep the beauty and poise of the individual and the sport.  

Tonuouchi, through his play, proves that the Japanese Americans on Maui were respectable athletes, who through all the doubt and speculation became champions. However, just like the Achebe Tonuouchi allows us to see the Japanese Americans flaws so we can relate to them even more. “Things that are happening in the war, their dreams being squashed,” (Jones, “Three Year Swim Club Reaches the Mainland At EWP”) Tonuouchi shows that they did not have the easiest road to their goal.  They have to persevere though friends, family, and themselves going to fight in the war, and then later live through the Japanese American Internment. From giving their lives to their country, living their lives to represent America, and hoping to show Japanese Hawaiians are just as American, then betrayed and questioned by their fellow American brothers and sisters. As the Ibo people were so family oriented, so were the Japanese Americans, but with the war families were torn apart and sons and daughters were never seen again. But, the Japanese Americans from Maui did not lose hope on family, they stuck together in the camp and rebuilt their lives with each other. Though common sense, hard work, and a strong faith in God, the swimmers and the people continued with their lives. The swimmers stayed true to their goal, and  against all odds and hardship, the Japanese Americans on Maui prove they are not just plantation workers, but respected athletes and revered people.

Achebe and Tonuouchi both show that the Nigerians and the Japanese Americans on Maui both break single stories through culture, language, and strong intelligent individuals. Both Achebe and Tonuouchi prove through the traditional language of their people that there is a sense of history and strong ties of culture and ancestry, which has not been forgotten and is integrated in the modern society. Tonuouchi says, “I tink everybody should talk pidgin. So long dey sincere and trying to learn.” (Thompson, “Lee Tonuouchi: Pidgin Poet”) they both are exposing the culture in new ways, proving there is a civilized manor to these people. Also, they both have elements of dance and music in their works, such as the women dancing and the mention of instruments in Achebe’s novel, and the hula movements and the playing of the ukulele in Tonuouchi’s play. Again they are demonstrating cultural resilience and adoration by the people, they are showing how the people are expressive and emotional. They prove that through dance and music there is a joint conclusion that it portrays their society, and has a special meaning to their past, present, and future generations. Achebe and Tonuouchi both have strong individuals in their works, Achebe using Okonkwo and Tonouchi using Soichi Sakamoto, who both prove determination, passion, love, power, a father figure, a leader, persistence, and many more qualities that make any person great.

Achebe and Tonouchi break the single story of these people through expressing their emotion, hardships, and accomplishments. The Nigerian people and the Japanese Americans on Maui, each are shown though Achebe and Tonouchi, that they are deep and expressive people, they have fallen, and they have risen. Achebe shows the Nigerian people are not animals, but are a family oriented community where they participate as families and come together as a whole society. Tonuouchi proves the Japanese Americans on Maui are not incompetent farmers, but smart and hard working athletes never giving up on their goals for a brighter future. And together, Achebe and Tonuouchi teach us more about the beauty of the African and Hawaiian culture, hoping to spark an interest and appreciation for their cultures that live on today. Achebe and Tonuouchi break the single story of their people, proving they come from so much more, and their people are nothing less than anyone else.

Works Cited:

1. Jones, Stephanie. “Three Year Swim Club Reaches the Mainland at EWP.” LA Stage Times. 14 Feb. 2012. Web. June. 2009.

http://www.lastagetimes.com/2012/02/three-year-swim-club-reaches-the-mainland-at-ewp/  

2. Thompson, David. “Lee Tonuouchi: Pidgin Poet.” Honolulu Magazine. Jan. 2012.   

http://www.honolulumagazine.com/Honolulu-Magazine/January-2012/Lee-Tonouchi-Pidgin-Poet/

3. Tonouchi, Lee. Three Year Swim Club. Honolulu Theatre For Youth and Hawaiian inter-Club Council of Southern California. LA: East West Players. 20 Nov. 2011.  

4. Achebe, Chinua. Things Fall Apart. New York: Anchor Books, 1959.