One’s memories can serve as a pathway for wisdom or one for agony; however, the resulting actions will always act in a repeating cycle. In Jhumpa Lahiri’s The Namesake and Hasan Minhaj’s The Homecoming King, the protagonists recognize both unsettling and comforting memories that are the basis for numerous conclusions, which develops an important hypothesis: Lahiri’s novel and Minhaj’s work both illustrate the importance of one’s perception of their memories, as it dictates the direction for personal development, relationships and one’s mental attitude. This theory is further expressed through the writing/execution of both creators, as there are differences between connotation and aura, symbolism, and a similarity of archetypal features such
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When mentioning his new marital status, Minhaj states explains, “We just celebrated our one-year anniversary, so it’s one year down, forever to go. Which is terrifying to say. But you know what’s great? Now, it’s just kind of liberating.” (Minhaj). His continuous use of contractions creates personal connections with the audience; further emphasized with the use of pronouns such as “we” and “you” to promote harmony and togetherness between himself and others. Overall, his diction choices allow him to be his optimistic self and promote growth within himself and with his wife, which contrasts that of Lahiri’s in The Namesake, as she applies connotative writing and diction to produce a negative ambiance, such as when Ashima decides to move to India, “She will not have to go to the trouble of making yogurt from half and half and sandesh from ricotta cheese. She will not have to make her own croquettes.” (Lahiri 276). Unlike Minhaj, Lahiri showcases Ashima’s journey to be a relieving one, as she looks back to think of all the times in America as negative and burdening. This will allow people to see their memories and past decisions as mistakes, thus, inhibiting further character development; thus, altering characters’ relationships within …show more content…
Minhaj’s first introduction to a major crisis in his life that is visible to the audience is his father’s visit to the hospital, in which Hasan is “waiting, hoping that he comes out of surgery okay. And somehow he makes it through.” (Minhaj). The comedian creates contrast between his positive choice of words and events, with his father’s near death experience. As for recovery, other than his father’s survival, Minhaj’s father passes on wise words, “The dream is for you to take, so take that... Stop blaming other people,” in which Minhaj learns from his father the most valuable and relevant advice that he utilises to exhibit growth and self-consideration and to lead to his reward; “an audition for The Daily Show” (Minhaj). All three pieces of evidence show a beautifully executed journey; crisis, reflection, recovery, reward, that encourage an optimistic outlook for Hasan. Similarly, Gogol endeavours to explore his options and lead the life he wants to, independent of his parents’ opinions. Strangely enough, Gogol’s heroic journey is almost backwards at times. In chapter 9 of The Namesake, it is evident that Gogol is nauseated by the Moushumi’s habits, as “She is lighting a Dunhill...these days the stale smell of it, in her hair and on her fingertips, and in the bedroom where she sits typing, slightly disgusts
When mentioning his new marital status, Minhaj states explains, “We just celebrated our one-year anniversary, so it’s one year down, forever to go. Which is terrifying to say. But you know what’s great? Now, it’s just kind of liberating.” (Minhaj). His continuous use of contractions creates personal connections with the audience; further emphasized with the use of pronouns such as “we” and “you” to promote harmony and togetherness between himself and others. Overall, his diction choices allow him to be his optimistic self and promote growth within himself and with his wife, which contrasts that of Lahiri’s in The Namesake, as she applies connotative writing and diction to produce a negative ambiance, such as when Ashima decides to move to India, “She will not have to go to the trouble of making yogurt from half and half and sandesh from ricotta cheese. She will not have to make her own croquettes.” (Lahiri 276). Unlike Minhaj, Lahiri showcases Ashima’s journey to be a relieving one, as she looks back to think of all the times in America as negative and burdening. This will allow people to see their memories and past decisions as mistakes, thus, inhibiting further character development; thus, altering characters’ relationships within …show more content…
Minhaj’s first introduction to a major crisis in his life that is visible to the audience is his father’s visit to the hospital, in which Hasan is “waiting, hoping that he comes out of surgery okay. And somehow he makes it through.” (Minhaj). The comedian creates contrast between his positive choice of words and events, with his father’s near death experience. As for recovery, other than his father’s survival, Minhaj’s father passes on wise words, “The dream is for you to take, so take that... Stop blaming other people,” in which Minhaj learns from his father the most valuable and relevant advice that he utilises to exhibit growth and self-consideration and to lead to his reward; “an audition for The Daily Show” (Minhaj). All three pieces of evidence show a beautifully executed journey; crisis, reflection, recovery, reward, that encourage an optimistic outlook for Hasan. Similarly, Gogol endeavours to explore his options and lead the life he wants to, independent of his parents’ opinions. Strangely enough, Gogol’s heroic journey is almost backwards at times. In chapter 9 of The Namesake, it is evident that Gogol is nauseated by the Moushumi’s habits, as “She is lighting a Dunhill...these days the stale smell of it, in her hair and on her fingertips, and in the bedroom where she sits typing, slightly disgusts