The Namesake. Jhumpa Lahiri
like the houses in Gone With the Wind or The Seven-Year Itch, movies she’d seen with her brother and cousins at the Lighthouse and the Metro. The apartment is drafty during winter, and in summer, intolerably hot. The thick glass windowpanes are covered by dreary dark brown curtains. There are even roaches in the bathroom, emerging at night from the cracks in the tiles. But she has complained of none of this. She has kept her disappointment to herself, not wanting to offend Ashoke, or worry her parents. Instead she writes, in her letters home, of the powerful cooking gas that flares up at any time of day or night from four burners on the stove, and the hot tap water fierce enough to scald her skin, and the cold water safe enough to drink.
The top two floors of the house are occupied by their landlords, the Montgomerys, a Harvard sociology professor and his wife. The Montgomerys have two children, both girls, Amber and Clover, aged seven and nine, whose waist-length hair is never braided, and who play on warm days for hours on a tire swing rigged to the only tree in the backyard. The professor, who has told Ashima and Ashoke to call him Alan, not Professor Montgomery as they had at first addressed him, has a wiry rust-colored beard that makes him look much older than he actually is. They see him walking to Harvard Yard in a pair of threadbare trousers, a fringed suede jacket, and rubber flip-flops. Rickshaw drivers dress better than professors here, Ashoke, who still attends meetings with his adviser in a jacket and tie, thinks frequently to himself. The Montgomerys have a dull green Volkswagen van covered with stickers: QUESTION AUTHORITY! GIVE A DAMN! BAN THE BRA! PEACE! They have a washing machine in the basement which Ashoke and Ashima are permitted to share, a television in their living room which Ashoke and Ashima can hear clearly through the ceiling. It had been through the ceiling one night in April, when Ashoke and Ashima were eating their dinner, that they’d heard about the assassination of Martin Luther King, Jr., and just recently, of Senator Robert Kennedy.
Sometimes Ashima and Alan’s wife, Judy, stand side by side in the yard, clipping clothes to the line. Judy always wears blue jeans, torn up into shorts once summer comes, and a necklace of small seashells around her throat. A red cotton scarf over her stringy yellow hair, the same texture and shade as her daughters’, is always tied at the back of her neck. She works for a women’s health collective in Somerville a few days a week. When she learned of Ashima’s pregnancy she approved of Ashima’s decision to breast-feed but had been disappointed to learn that Ashima was going to put herself in the hands of the medical establishment for her child’s delivery; Judy’s daughters were born at home, with the help of midwives at the collective. Some nights Judy and Alan go out, leaving Amber and Clover unsupervised at home. Only once, when Clover had a cold, did they ask Ashima if she could check in on them. Ashima remembers their apartment with abiding horror—just beyond the ceiling yet so different from her own, piles everywhere, piles of books and papers, piles of dirty plates on the kitchen counter, ashtrays the size of serving platters heaped with crushed-out cigarettes. The girls slept together on a bed piled with clothes. Sitting momentarily on the edge of Alan and Judy’s mattress, she had cried out, falling clumsily backward, startled to discover that it was filled with water. Instead of cereal and tea bags, there were whiskey and wine bottles on top of the refrigerator, most of them nearly empty. Just standing there had made Ashima feel drunk.
They arrive home from the hospital courtesy of Dr. Gupta, who owns a car, and sit in the sweltering living room, in front of their only box fan, suddenly a family. Instead of a couch they have six chairs, all of them three-legged, with oval wooden backs and black triangular cushions. To her surprise, finding herself once again in the gloomy three-room apartment, Ashima misses the hustle-bustle of the hospital, and Patty, and the Jell-O and ice cream brought at regular intervals to her side. As she walks slowly through the rooms it irks her that there are dirty dishes stacked in the kitchen, that the bed has not been made. Until now Ashima has accepted that there is no one to sweep the floor, or do the dishes, or wash clothes, or shop for groceries, or prepare a meal on the days she is tired or homesick or cross. She has accepted that the very lack of such amenities is the American way. But now, with a baby crying in her arms, her breasts swollen with milk, her body coated with sweat, her groin still so sore she can scarcely sit, it is all suddenly unbearable.
“I can’t do this,” she tells Ashoke when he brings her a cup of tea, the only thing he can think to do for her, the last thing she feels like drinking.
“In a few days you’ll get the hang of it,” he says, hoping to encourage her, unsure of what else to do. He sets the cup beside her on the flaking windowsill. “I think he’s falling asleep again,” he adds, looking at Gogol, whose cheeks are working methodically at his wife’s breast.
“I won’t,” she insists thickly, looking neither at the baby nor at him. She pulls back a bit of the curtain, then lets it fall. “Not here. Not like this.”
“What are you saying, Ashima?”
“I’m saying hurry up and finish your degree.” And then, impulsively, admitting it for the first time: “I’m saying I don’t want to raise Gogol alone in this country. It’s not right. I want to go back.”
He looks at Ashima, her face leaner, the features sharper than they had been at their wedding, aware that her life in Cambridge, as his wife, has already taken a toll. On more than one occasion he has come home from the university to find her morose, in bed, rereading her parents’ letters. Early mornings, when he senses that she is quietly crying, he puts an arm around her but can think of nothing to say, feeling that it is his fault, for marrying her, for bringing her here. He remembers suddenly about Ghosh, his companion on the train, who had returned from England for his wife’s sake. “It is my greatest regret, coming back,” Ghosh had confessed to Ashoke, mere hours before he was killed.
A soft knock on the door interrupts them: Alan and Judy and Amber and Clover, all there to see the baby. Judy holds a dish covered with a checkered cloth in her hands, says she’s made a broccoli quiche. Alan sets down a garbage bag full of Amber and Clover’s old baby clothes, uncorks a bottle of cold champagne. The foaming liquid splashes onto the floor, is poured into mugs. They raise their mugs to Gogol, Ashima and Ashoke only pretending to take sips. Amber and Clover flank Ashima at either side, both delighted when Gogol wraps a hand around each of their fingers. Judy scoops the baby out of Ashima’s lap. “Hello, handsome,” she coos. “Oh, Alan,” she says, “let’s have another one of these.” Alan offers to bring up the girls’ crib from the basement, and together he and Ashoke assemble it in the space next to Ashima and Ashoke’s bed. Ashoke goes out to the corner store, and a box of disposable diapers replaces the framed black-and-white pictures of Ashima’s family on the dressing table. “Twenty minutes at three-fifty for the quiche,” Judy says to Ashima. “Holler if you need anything,” Alan adds before they disappear.
Three days later, Ashoke is back at MIT, Alan is back at Harvard, Amber and Clover are back at school. Judy is at work at the collective as usual, and Ashima, on her own with Gogol for the first time in the silent house, suffering from a sleep deprivation far worse than the worst of her jet lag, sits by the three-sided window in the living room on one of the triangular chairs and cries the whole day. She cries as she feeds him, and as she pats him to sleep, and as 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. One day she cries when she goes to the kitchen to make dinner and discovers that they’ve run out of rice. She goes upstairs and knocks on Alan and Judy’s door. “Help yourself,” Judy says, but the rice in Judy’s canister is brown. To be polite, Ashima takes a cup, but downstairs she throws it away. She calls Ashoke at his department to ask him to pick up the rice on his way home. This time, when there is no answer, she gets up, washes her face and combs her hair. She changes and dresses Gogol and puts him into the navy blue, white-wheeled pram inherited from Alan and Judy. For the first time, she pushes him through the balmy streets of Cambridge, to Purity Supreme, to buy a bag of white long-grain rice. The errand takes longer than usual; for now she is repeatedly stopped on the street, and in the aisles of the supermarket, by perfect strangers, all Americans, suddenly taking notice of her, smiling, congratulating her for what she’s done. They look curiously, appreciatively, into the pram. “How old?” they ask. “Boy or girl?” “What’s his name?”
She