Father–Son Relationships in Death of a Salesman and The Namesake

Introduction: Two Works, One Theme

Though written from very different perspectives, Death of a Salesman and The Namesake share a number of important similarities, particularly with regard to their messages about fathers and sons. The conflicts and complexities of father-son relationships are explored by both Arthur Miller and Jhumpa Lahiri through their characters Willy, Biff, and Happy Loman in Death of a Salesman and Ashoke and Gogol Ganguli in The Namesake. Yet it is important to recognize that, while both Biff and Gogol travel similar paths and for similar reasons, their journeys take them down wildly divergent roads.

Cultural Identity and the Significance of Naming

Unlike the characters in Death of a Salesman, the characters in The Namesake must deal with issues of conflicting national and cultural identities. The clash of cultures is a recurrent theme throughout The Namesake and drives much of the plot. For instance, while giving birth, Ashima reflects on the differences between Bengali and American culture, noting that "In India women go home to their parents to give birth, away from husbands and in-laws and household cares, retreating briefly to childhood when the baby arrives" (Lahiri 4). Perhaps the most consequential difference — at least with regard to the novel's plot — is the differing American and Bengali approaches to naming children. According to Lahiri, Bengali children are named by female elders, not by their parents; as Ashima protests to a well-meaning but ignorant civil servant, "But, sir, we can't possibly name him ourselves" (Lahiri 27). Ashima and Ashoke's decision to name their child Gogol has far-reaching effects on the boy's life and character, driving the novel's plot.

Naturally, naming a child is a momentous occasion in any new parent's life, and it is also an important element in Death of a Salesman. While not fraught with the same cultural baggage as in The Namesake, Arthur Miller's assertion that Willy "named" Howard Wagner illustrates the importance of naming in American culture. For Willy, the fact that he "named" Howard — a misperception, to be sure — ought to create a father-son bond between the salesman and his boss. Instead, Howard treats Willy disrespectfully and contemptuously before finally firing him. In other words, Willy attempts to assert a father-son relationship between himself and Howard based on the fiction that he named him, only to have Howard demonstrate that he does not reciprocate Willy's affection. This incident points to the cultural importance of naming in both works and indicates the ways in which the act of naming can serve as an important building block in a father-son relationship.

Ashoke and Ashima's choice of Gogol for their son's name also creates tension within their family. Though Gogol initially accepts his name, by the time he is in sixth grade it has become clear to him that it sets him apart from other students. A field trip to a cemetery to do headstone rubbings drives home his essential separateness from his classmates. Gogol begins slowly rebelling against his Bengali heritage and more fully embracing American culture. This is somewhat ironic, given that his name is not Bengali but Russian, and his last name, Ganguli, is an anglicized pronunciation of his true last name, Gangopadhyay. However, Gogol's rejection of his name is not simply a rejection of his Bengali heritage; he does, for instance, continue using the equally ethnic — if differently so — name Nikhil. Clearly, if all Gogol wanted was to assimilate more fully into American culture, he would have chosen a more common American name. In reality, Gogol's desire to change his name is about putting distance between himself and his father because of the importance Ashoke attaches to it. As Fitz E. Barringer states, "Gogol spends most of the book trying to eradicate his heritage" (Barringer). Gogol's rejection of his name thus symbolizes the growing distance between father and son.

Distance Between Fathers and Sons

Distance between fathers and sons is also one of the central themes of Death of a Salesman. Throughout the play, Willy voices his fear that people neither like nor respect him. Garnering others' respect is incredibly important to Willy because he believes it is the key to success in business. Willy goes so far as to criticize his neighbor Charley — who owns a successful business — as being "liked, but not well-liked" (Miller 21). In Willy's mind, the fact that Charley is not "well-liked" negates his obviously greater material success. Willy's son Biff initially follows in his father's footsteps and criticizes Charley's son Bernard, a classmate, for being "liked, but not well-liked" (Miller 23). By having Biff use exactly the same phrase as Willy, Miller subtly demonstrates that Biff idolizes his father — a point explicitly driven home when Linda tells Willy that "Few men are idolized by their children the way you are" (Miller 26).

Conclusion: Divergent Destinations, Shared Understanding

Both Death of a Salesman and The Namesake explore the contradictory, maddening, and sometimes heartbreaking relationships between sons and fathers. Both works share a number of similarities, such as sons running from their fathers' pasts — Biff from Willy's failure and infidelity, Gogol from Ashoke's Bengali heritage. In addition, both Lahiri and Miller explore the symbolic importance of names in understanding relationships between fathers and sons. Finally, both sons make similar journeys, moving from an initial posture of respect and love toward a deeper understanding of their fathers as flawed human beings.