Namesake
Comparison and Contrast
Prose
and Mise En Scene
Zoe
Storch
Ms.
Wilson
AP
English Literature and Composition
1
October 2013
AP
Open Question Prompt:
1997. Novels and plays often
include scenes of weddings, funerals, parties, and other social occasions. Such
scenes may reveal the values of the characters and the society in which they
live. Select a novel or play that includes such a scene and, in a focused
essay, discuss the contribution the scene makes to the meaning of the work as a
whole.
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.
x__Zoe
Storch______________
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Zoe Storch
Ms. Wilson
AP English Literature and Composition
1 October 2013
Part 1 (Prose):
In Jhumpa Lahiri’s The
Namesake, pages 122-124 consist of an essential scene linked to the novel’s
overall meaning. During this short conversation between a father and son, Gogol
and Ashoke, the main character learns about his father’s secret struggle as
well as his own identity. Ironically, this scene features the two
sitting close together in a car, but emphasizes Gogol’s initial reaction of
unfamiliarity and distance from his father. Through her familiar writing style
of vivid imagery and stirring simplicity, Lahiri asserts that sense of self and
coming of age are two themes dependent upon knowledge of personal background.
Without plainly listening to and understanding the stories of our relatives, we
cannot understand our own.
As a whole, Lahiri’s
books are overflowing with images pulled from her own life. Termed as a
“distant author”, Lahiri is said to describe the settings of her stories using
only her memory and imagination. Although she doesn’t have concrete
observations, the sensory details and imagery woven throughout the short passage
in The Namesake highlight a Gogol’s struggle with sense of self. When
Ashoke is describing his near-death experience, Gogol can picture, “his
father’s mangled body, among hundreds of dead ones, being carried on a
stretcher past a twisted length of maroon compartments” (123). A shocking
description of both death and darkness, Lahiri’s imagery successfully
communicates Gogol’s distress. After he learns what his father has
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hidden from him for
years, Ashoke’s son realizes just how much his father means to him. Therefore,
when he discovers the true meaning of his namesake, a character change takes
place. Instead of pushing aside his given name, Gogol begins to realize that
its significance is deeply connected to his father’s identity, and therefore,
his own.
In contrast to the vivid
pictures painted in the minds of her readers, Lahiri’s work is also
characterized by its stirring simplicity. Her utilization and placement of
short statements in this passage speak volumes, setting up tension between characters
and then resolution of Gogol’s quest for self. Building up to his father’s
narration, phrases like, “His father shuts off the radio” and, “But tonight
they are silent” portray the uncertainty Gogol feels in both his sense of self
and his father (122). Lahiri argues that lack of sense of self and maturity
stem from the uncertainty tied to one’s background. It’s only at the end of the
passage that coming of age begins to attach itself to Gogol. And when it does,
Lahiri once again employs simplicity in diction to illustrate Gogol’s
speechlessness. “But Gogol doesn’t move,” she writes candidly. She then
describes how, “His father laughs softly,” which in turn, lessons Gogol’s
feelings of tension and hesitation(124). Throughout the passage, this simplicity
falls into a constant ebb and flow of uncertainty resolution, accentuating
Lahiri’s argument that a greater certainty of identity lies in the certainty of
one’s history.
Lahiri additionally
asserts her claim for coming of age with parallel structure. Before Gogol
realizes the significance linked to his name, the scene is set up with a short
description of the setting and background. “Normally on these rides back,”
Lahiri narrates, “his father asks questions, about his classes, about his
finances, about his plans after graduation” (122). Her use of repetition serves
to feature how lost Gogol is initially on his path to maturity. It is only
towards the end of the passage, when there is resolution, that syntax becomes
less repetitive and more powerful, assuring Gogol’s coming of age.
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Like in her other works,
Lahiri’s unique writing style in The Namesake’s short passage becomes more than
just intricate description and simple reports. The author’s style becomes the
cornerstone to her argument that sense of self and coming of age are directly
related to understanding of background. In Gogol’s case specifically, Lahiri
argues that acceptance of your namesake is the key to identity. “And suddenly,”
Lahiri narrates, “the sound of his pet name, uttered by his father as he has
been accustomed to hearing it all his life, means something completely
new…”(124).
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Part 2 (Mise En Scene):
Similar to Jhumpa Lahiri’s portrayal of the car scene between
Gogol and Ashoke in the written version of The Namesake, Mira Nair, the
director of the film version, argues for closely-related thematic points.
Although these points are conveyed through a different medium,they are
successful in their communication of two of the story’s major themes. Nair’s
careful selection of camera angles and setting assert her argument that family
history and personal background are perhaps the most significant tools in
achieving sense of self and maturity.
This repeated motif of
identity/sense of self is expressed constantly through non-diegetic sound and
camera angles. While Ashoke is retelling his life struggle, his narration (non
diegetic sound) is overlapped with blurry images of the train wreck. Together,
these elements, sound and moving pictures, combine to create a feeling of
sorrowful tragedy and loss. Because the filter on the images is blurred and
drained of color, Nair’s assertion that sense of self is gained from the
knowledge of one’s past becomes less of an obscure theme and more of a loaded
statement. Instead of relying on inferences, viewers are confronted head on
with a concrete example. Because Gogol has such an uncertainty of his father’s
past (shown through blurry images and narration) he in turn has an unclear
definition of his own identity.
Nair chooses to begin
the scene with a zoomed-out shot of the car in which the two are sitting.
Parallel to the scene’s sound and images, these camera angles work to
illustrate Gogol’s transition from blurriness to clarity in the quest for his sense
of self. As the scene progresses, the camera angles become more specific and
zoomed-in. Like Gogol, those watching the scene are similarly able to gain a
better understanding of the characters’ expressions and feelings during their
conversation. Nearing the scene’s resolution, Nair shows viewers clearer shots
of Gogol and Ashoke’s faces, affirming her belief that Ashoke’s story is the
reason for Gogol’s understanding.
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Another thematic
repetition seen in Nair’s version of The Namesake is coming of age. At
this point in Gogol’s journey, his character is at a stage where he must
finally face the more mature facts of life and relationships, expressed through
both music and camera cuts. The whole irony of the scene’s setting is found in
its closeness and claustrophobia. Nair’s zoomed camera angles physically show
the setting in it’s material state. On another level of analysis is the
psychological setting. Physically, father and son are extremely close, yet
mentally, Gogol begins to feel as if he doesn’t even know Ashoke anymore after
having heard his story.
Connected to Nair’s use of setting is her decision to cut back and
forth between past and present. During Ashoke’s voiceovers, the the screen
flips between flashbacks and real-time conversation, starting at a fast pace,
and eventually slowing down to reality once the scene reaches resolution. At
the beginning of these camera cuts, the sporadic changes cause a sense of
uneasiness and suspense. Yet, at their end, Gogol no longer has an uncertainty
for his father’s history or his own. He realizes the importance of a name,
specifically his own. The combination of all Nair’s filming techniques and
decisions are the foundation to a successful assertion of her argument,
convincing us that knowledge of background is the main tool in gaining one’s
own identity.
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Part 3 (Compare and
Contrast):
Jhumpa Lahiri’s novel, The Namesake, interweaves the stories of two
different generations in their quest to find home. Beginning with Ashoke and Ashima’s
transition to American culture, the story gradually focuses in on the Indian
couple’s eldest son, Gogol, and follows him through his journey and growth as a
character. In both its film and written form, The Namesake’s author,
Lahiri, and director, Mira Nair, address the same underlying themes.
Although they use two separate media, Lahiri and Nair both utilize
various film and writing techniques to develop characterization and setting,
arguing that sense of self and coming of age are only achieved through the
knowledge of one’s background.
The
similarities between the film and written version of The Namesake, both
centered around thematic elements, illustrate the original work’s repeated
emphasis on the importance of family history and personal identity. Nair’s
implementation of non-diegetic sound as well as Lahiri’s stirring
simplicity highlight these themes and takes them from a character’s individual
story to a universal truth. In the film, Nair chooses to narrate Ashoke’s story
with the combination of non-diegetic sound and imagery. The filter on the
images is blurry and colorless, physically illustrating the confusion and
sorrow of Ashoke’s experience. This makes Nair’s assertion that sense of self
is gained from the knowledge of one’s past less of an obscure theme and more of
a loaded statement. Paralleling Nair’s use of flashbacks and sound, Lahiri’s
diction contains a stirring simplicity which also builds on the theme of sense
of self. Short, abrupt phrases like, “But Gogol doesn’t move,” (124) and, “But
tonight they are silent,” (122) portray Gogol’s overwhelming feelings of shock
and disbelief after learning the truth behind his namesake. They help argue
Lahiri’s belief that without knowing where we come from, we can’t understand
the significance and meaning of our present identities.
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Like
sense of self, both Lahiri and Nair’s Namesake address the deeper
importance of coming of age and maturity as it relates to Gogol specifically,
as well as to us all. During Ashoke’s voiceovers, Nair cuts back and
forth between flashbacks and real-time conversation. These flips begin at a
faster pace and gradually slow to meet the scene’s resolution. The initially
sudden changes show Gogol’s feelings of uneasiness and tension in respect to
his future.Yet, when they slow down to reach present time, Gogol has at this
point learned about his father’s struggle and the significance of his name to
his maturity. He no longer has an uncertainty for his father’s history or his
own future. Similarly, Lahiri’s written version features the use of
rhythm, in diction, not camera cuts, to imply the importance of a
relationship between history and coming of age. “Normally on these rides back,”
Lahiri narrates, “his father asks questions, about his classes, about his
finances, about his plans after graduation” (122). Her purposeful use of
repetition exhibits Gogol’s uncertainty and fear for his future, as well as his
unwillingness to accept it. But, like Nair’s camera cuts, Lahiri’s repetition
gradually fades, featuring more solid sentences. These statements signal
Gogol’s transition to adulthood after his conversation with his father.
Though the two media, film
and literature, share similarities which help illuminate the work’s true
message, they also differ in characterization and setting, causing similar
points to be conveyed, yet in slightly different ways. Nair furthers Gogol’s characterization
in her choice to use melancholy background under the entire scene. During
Gogol’s previous scenes, more upbeat, youthful music would tend to play
whenever the camera featured him as a character. In contrast, Nair’s musical
decision in this scene illustrates a turning point in Gogol’s development from
childhood to maturity. In this scene in the book, Lahiri also indicates a
change in Gogol’s character, yet a more positive one. Pulling from own culture,
Lahiri uses the contrast between a good name and a pet name to assert the
significant change Gogol experiences after learning the truth behind his
namesake. “And suddenly,” Lahiri narrates, “the sound of his pet name,
uttered by his father as he has been accustomed to hearing it all his life,
means something completely new..” (124) Unlike Nair, Lahiri stresses that
although Gogol’s feelings/background music change, that change represents
something new and positive in Gogol’s journey.
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The
two settings, reality and the world of flashbacks, described by Nair and
Lahiri, are alike in portrayal, yet different in the significance they give to
the specific scene within the rest of the story. Nair contrasts the natural,
bright lighting of reality with the blurred darkness of Ashoke’s flashbacks.
Although many of the images are repeated from the start of the movie,
they are specific and make up most of Ashoke’s narration. Yet in Lahiri’s
writing, Ashoke’s flashbacks aren’t depicted in detail, but skimmed over,
washed out by Gogol’s thoughts. We are merely requested to remember them from
the beginning of the novel. Because of this, it seems as if the choices
Nair makes in the film place a heavier weight on the scene in the movie as compared
to the book.
In truth, the similarities
and differences found between Nair and Lahiri’s works don’t weaken the story’s
main themes, but instead, enhance its many claims and legitimacies. The film’s
setting places a heavier significance on the scene within the story than the
novels, but not without lacking in characterization vital to supporting the
link between knowledge of background and identity. Using different techniques
to support their beliefs, Lahiri and Nair ultimately prove that without listening
to and understanding the stories of your relatives and the power of a name,
it’s impossible to succeed in the quest for maturity and sense of self.
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Works Cited
Lahiri, Jhumpa.
"5." The Namesake. Boston: Houghton Mifflin, 2003. 122-24.
Print.
The Namesake. Dir. Mira Nair. Prod. Mira Nair and Lydia Dean Pilcher. By Sooni Taraporevala. Perf. Kal Penn, Tabu, and Irrfan Khan. 1:02:32- 1:06:42 Fox Searchlight Pictures, 2007.
