She Cries, She Cries, She Cries: Repetition and Juxtaposition of Action Verbs in The Namesake 

Homesickness. We all know the feeling. The empty pit in your stomach. The feeling of longing that you just can’t quite put at ease. And then just like that, something familiar comes along and there is a brief sense of relief. In The Namesake, Ashima’s homesickness is almost tangible. However, with the birth of her son, Gogol, there is a short lived relief. Lahiri uses the repetition and juxtaposition of action verbs to show this brief, but positive change.

Figure walking through emptiness.

From her first years in the United States to the birth of her son, all Ashima thinks about is going home. Every day she goes through the same routine, barely moving, barely living. Lahiri’s use of repetition emphasizes the monotony of Ashima’s everyday routine.

“She cries as she feeds him and as she pats him to sleep, and he cries between sleeping and feeding. She cries after the mailman’s visit because there are no letters from Calcutta. She cries when she calls Ashoke at his department and he does not answer” (Lahiri 34).

Not only does the repetition of “cries” make clear how unhappy Ashima is with life in the United States, it also emphasizes how boring and colorless each of her days is. Every activity that Ashima performs takes place within her house and there is no interaction with anyone but the mailman. However, all of this changes once she starts to take agency in her life, due to the birth of her son. In taking care of Gogol, Ashima develops new patterns that make her life much more eventful and the verbs Lahiri uses to describe her actions begin to change too.Mother and child's hands

“She discovers,” “she gives,” “she sings,” “she drinks,” (Lahiri 35).

Just as before, the word “she” is repeated over and over, and yet each time it is accompanied by something new. Though to cry is an action verb, the verbs that accompany “she” here show much more physical movement and, along with that, happiness. In juxtaposition with the words from just a page earlier, it is as though Ashima has finally begun to live her life.

B5.

Works Cited

Lahiri, Jhumpa. The Namesake. Mariner Books, 2003.

Distraction and Distraction and Distraction: Something’s Always Moving on Jackson Street

More than ever, I feel like I lack the ability to focus. I’m always jostling my leg up and down, I’m always gnawing on the end of my pens, I’m always doodling into the margins of my notebooks. There’s always something to keep me occupied.

It seems that I am not the only one who needs the constant bustle of background distraction. In his novel No-No Boy, John Okada continually narrates the stream of his characters’ background actions, emphasizing the undercurrent of anxiety and avoidance that runs through the work.

When Ichiro first returns home and speaks with his father, he watches his father make tea, drink it, then immediately rise to rinse the cup. Ichiro identifies this restless series of actions, stating “He’d never realized how nervous a man his father was. The old man had been constantly doing something every minute since he had come” (Okada 10). By associating constant action with nervousness, Okada builds a connection between them.

Ichiro too commits one of these minor actions: smoking. Immediately after expressing his frustration with his father’s need for distraction, he smokes one cigarette, then “Using the butt of the first cigarette, Ichiro lit another” (Okada 11). This action fills the background of Ichiro’s conversation with his father and the following conversation with his mother. Later, Ichiro retreats to his bedroom where, unable to sit in silence, lies in bed “fighting with his burden, lighting one cigarette after another” (Okada 12). Ichiro’s drive for minor action persists through the text. Later, as he ponders his mother, “he crushed the stub of a cigarette into an ash tray filled with many other stubs and reached for the package to get another” (Okada 17), and even later, when talking to Freddie, he “walked over to the window and lit a cigarette” (Okada 44). Okada’s reference to the repetitive nature of Ichiro’s smoking transforms it into a habitual action, always used as a background distraction to an important thought or interaction. By juxtaposing continually smoking to Ichiro’s uncomfortable moments, Okada links the reference of repetitive minor activity to avoidance.

The need for occupation affects not only Ichiro and his father, but many other characters as well. Freddie also smokes; Kenji drives; Taro plays solitaire. All take up a minor action to keep themselves active.

The repetitive appearance of background motion in the text suggests an anxious undercurrent present in each character. By emphasizing the background, Okada makes clear that no one can sit still. The past remains ever present, forcing the characters to seek distraction.

Okada, John. No-No Boy. 1957. U of Washington P, 2014.