Identity and Alienation in The Namesake and The Metamorphosis

Introduction: Two Novels, One Theme

Jhumpa Lahiri's The Namesake and Franz Kafka's The Metamorphosis both explore the concept of a family attempting to make its way in society, and particularly the concept of a young man trying to discover his identity in contrast to that of his loved ones. However, whereas the former's storyline flows smoothly and provides readers with sufficient information to understand it systematically, the latter involves a great deal of complexity, often confusing readers and making it difficult for them to identify the main elements the author wishes to express.

One of the most prominent themes in both works is alienation. Both Gogol Ganguli and Gregor Samsa struggle to discover their place in society. Kafka's treatment of alienation is probably more complex because of the writer's background and the relationship he had with his father. Given that Kafka's childhood memories were dominated by his father's authoritarian behavior, it is probable that the author attempted to channel the inferiority he felt during his youth by imagining himself as helpless and repulsive — much like a bug. Kafka virtually saw himself as a vermin, just as Gregor wakes up to discover that he has transformed into one.

Kafka's father contributed significantly to making his son feel predisposed to failure in life, and can to a certain degree be held responsible for the writing of The Metamorphosis. The events in Kafka's life are somewhat ordinary for a Jewish family living during the late nineteenth century (Eisner 75). Having to live according to his father's rules — and to work for him as his employer — made life particularly difficult for Kafka, and his only refuge was in writing. It is only natural for such circumstances to cause one to believe that he is inferior.

Gregor Samsa's Alienation and Kafka's Biography

Gregor Samsa was clearly afraid of his father's physical power. His awe at the size of the man's boots most certainly references the fact that his father could easily crush him, just as any ordinary bug would be no match for a powerful man in enormous boots. The fear his family and society imposed on Gregor prevented him from expressing himself, and he was constantly controlled. Gregor suffers from an inferiority complex and is, as a result, powerless.

It is difficult to interpret exactly what influenced Gregor's transformation into an insect. One cannot determine whether the transformation was merely a materialization of the character's desires, or whether it was a horrible tragedy that was simply part of his ill-fated life. Certain elements in the book suggest that the alienation was something Gregor wished for, as he did not want to continue living as he had been. Tired of giving everything he had so that his family could live decently, Gregor perhaps wanted something in return. As a result, he chose — consciously or not — to turn into a parasite that would depend on those around him. His family consequently realizes that they can live without Gregor's assistance, becoming self-sufficient and abandoning both Gregor and the dependence they previously had on him.

Gregor's alienation began early, when he was apparently left with no one but himself to provide for his family. He sacrifices himself so that his family's basic needs are met, and despite everything he endures, he still feels guilty when his sister Grete must care for him — since he believes it is his job to care for his family, not the other way around. As the action progresses, it becomes clear that his family did not actually need Gregor, nor did his employers. He was less significant than he believed himself to be and displayed an obsessive attachment to his family. It is possible that — even before the morning of his transformation — he was always a kind of parasite on the inside, dependent on his family rather than the reverse.

At one moment in his otherwise meaningless life, Gregor has the chance to love someone but misses it because he feels he would be unable to help his family if he were to pursue a relationship. This chance could have brought him back to reality. By developing genuine affection for another human being, he might eventually have fathered children and detached himself from the lonely existence he was leading.

The metamorphosis can also be understood as evidence of the abuse Gregor suffers at the hands of his family and society in general. As Harold Bloom observes, "Kafka's uniqueness as a narrative author lies, among other things, in the literalness with which the metaphors buried in linguistic usage come alive and are enacted in the scenes he presents" (Bloom 105). Gregor's confinement to a closed room may reference his willingness to alienate himself from society — either because he does not wish to be a part of it or because he feels exploited. Kafka was most probably drawn to writing in accordance with a concept widespread in modern thought: alienation (Bloom 105). His background helped him develop the character of Gregor Samsa.

The Metamorphosis as Social Critique

Everyone around Gregor expected him to assist them, and when he became unable to do so, they turned their backs on him — demonstrating that he was worthless to them once he could no longer help. When they discover that they cannot reach Gregor, they become desperate, and instead of showing affection, they grow furious, refusing to consider the possibility that he might be ill.

While the transformation is most obvious with respect to Gregor, there is another metamorphosis taking place in the book — one less apparent but equally important. Grete changes over the course of the narrative, ultimately becoming a woman less emotional and less committed to her brother's wellbeing, far removed from the caring and innocent sister she once was.

The book surprises from its very opening, presenting readers with the character of Gregor, his background, and his discovery that he has turned into a vermin. This finding shocks Gregor to the point where he can no longer think clearly. Yet he quickly comes to his senses, and rather than worrying about his appearance, he is more troubled by his incapacitation — specifically, that he will no longer be able to catch the train to work. It is perhaps his very social status that shapes Gregor's condition as a cockroach. Not only does he disregard his appearance, but he remains certain that his job matters more than the fact that he is no longer human. His own person was not important to Gregor; what truly mattered was making money and providing for his family.

The metamorphosis can also be attributed to the fact that everyone around Gregor was incapable of perceiving him as a normal human being. His inability to escape his job isolated him from the world, and because society considered him no more than a worthless insect, he became one. His family was able to live without him, just as his superiors were able to continue their business. With no support from his family, and aware of his ineffectiveness at work, Gregor was a cockroach — both physically and mentally.

Conclusion: Society, Identity, and Self-Defeat

Gans, Jerome S. "Narrative Lessons for the Psychotherapist: Kafka's The Metamorphosis." American Journal of Psychotherapy 52.3 (1998).

Kafka, Franz. The Metamorphosis. Kessinger Publishing, 2004.

Lahiri, Jhumpa. The Namesake. Houghton Mifflin Harcourt, 2004.

Singh, Amardeep. "The Nameless: Jhumpa Lahiri's The Namesake." Lehigh University, 2004.

Song, Min Hyoung. "The Children of 1965: Allegory, Postmodernism, and Jhumpa Lahiri's The Namesake." Twentieth Century Literature 53.3 (2007).