In Unaccustomed Earth, Jhumpa Lahiri’s short stories explore cultural identity as a multifaceted experience, particularly for second-generation immigrant characters. Rather than choosing one culture over another, the stories show how these characters live between worlds, their identities not confined to a single heritage but rather a synthesis of two distinct ones. The collection does not sugarcoat the immigrant experience, instead shedding light on how difficult it can be for a person to meaningfully connect with their cultural and familial roots while also assimilating to the society in which they live. For example, in the titular story “Unaccustomed Earth,” Ruma is grieving her mother’s recent death and contemplates the prospect of inviting her father to live with her and her family, a customary Indian tradition. But in an unexpected inversion of cultural roles, her father rejects this idea, choosing his newfound independence over a traditional life of family-centered interdependence. Ruma expects her older Bengali to father to be more “traditional,” but he has developed a Westernized identity that values autonomy. Ruma, in contrast, struggles to balance her independence with her desire to honor her heritage, illustrating how cultural identity can evolve throughout an immigrant’s life.
The collection’s other stories similarly explore the challenges of navigating a multicultural identity. In “A Choice of Accommodations,” Amit marries Megan, an American woman, and cares for their children while working part-time. In doing so (and in dropping out of medical school), he defies his parents’ expectations and chooses a life that offers him fulfillment rather than conforming to cultural ideals. The tension between cultural roots and personal choice also emerges through Pranab Kaku’s character in “Hell-Heaven.” As a recent immigrant to the United States, Pranab struggles to adapt, but Usha’s family, firmly grounded in Bengali traditions, offers him a lifeline. Though he initially attempts to balance his Indian culture with a growing American awareness, in the end, Pranab becomes increasingly assimilated in his wife Deborah’s world. Pranab’s story thus acknowledges the power of Western influence to suppress or even erase a person’s prior cultural identity altogether. Through the varied choices and experiences of its characters, Unaccustomed Earth portrays the immigrant experience as complex and different for every individual. The common thread throughout these stories is the inherent difficulty of inhabiting multiple cultures at once and the pain of having to choose between various aspects of one’s identity.
Cultural Identity and the Immigrant Experience ThemeTracker
Cultural Identity and the Immigrant Experience Quotes in Unaccustomed Earth
“You’re always welcome here, Baba,” she’d told her father on the phone. “You know you don’t have to ask.” Her mother would not have asked. “We’re coming to see you in July,” she would have informed Ruma, the plane tickets already in hand. There had been a time in her life when such presumptuousness would have angered Ruma. She missed it now.
Growing up, her mother’s example—moving to a foreign place for the sake of marriage, caring exclusively for children and a household—had served as a warning, a path to avoid. Yet this was Ruma’s life now.
Bengali had never been a language in which she felt like an adult. Her own Bengali was slipping from her. Her mother had been strict, so much so that Ruma had never spoken to her in English. But her father didn’t mind.
The garden was coming along nicely. It was a futile exercise, he knew. He could not picture his daughter or his son-in-law caring for it properly, noticing what needed to be done. In weeks, he guessed, it would be overgrown with weeds, the leaves chewed up by slugs. Then again, perhaps they would hire someone to do the job.
There is only one photograph in which my mother appears; she is holding me as I sit straddling her lap [...] In that picture, Pranab Kaku’s shadow, his two arms raised at angles to hold the camera to his face, hovers in the corner of the frame, his darkened, featureless shape superimposed on one side of my mother’s body. It was always the three of us.
I began to take my cues from my father in dealing with her, isolating her doubly. When she screamed at me for talking too long on the telephone, or for staying too long in my room, I learned to scream back, telling her that she was pathetic, that she knew nothing about me, and it was clear to us both that I had stopped needing her, definitively and abruptly, just as Pranab Kaku had.
“Now we know what that feels like,” she told him, and he knew then that it was impossible, that she did not like him in that way. She had indulged him, just as her family had indulged him once a year in their home, offering a small piece of herself and then shutting the door.
They relied on their children, on Sudha especially. It was she who had to explain to her father that he had to gather up the leaves in bags, not just drag them with his rake to the woods opposite the house. She, with her perfect English, who called the repair department at Lechmere to have their appliances serviced. Rahul never considered it his duty to help their parents in this way.
She’d always had a heavy hand in his life, it was true, striving not to control it but to improve it somehow. She had always considered this her responsibility to him. She had not known how to be a sister any other way.
And so he became what all parents feared, a blot, a failure, someone who was not contributing to the grand circle of accomplishments Bengali children were making across the country, as surgeons or attorneys or scientists, or writing articles for the front page of The New York Times.
It was like the painting they’d first looked at together in London, the small mirror at the back revealing more than the room at first appeared to contain. And what was the point of making Roger lean in close, to see what she was already forced to?
“It’s not love.” In Sang’s opinion it was practically an arranged marriage. These men weren’t really interested in her. They were interested in a mythical creature created by an intricate chain of gossip, a web of wishful Indian-community thinking in which she was an aging, overlooked poster child for years of bharat natyam classes, perfect SATs.
“Do you live here?” he asked.
“I painted the walls,” Sang said, as if that would explain everything. Paul remembered her painting her own room, listening to Billie Holiday.
The policeman leaned over, inspecting the broken glass and flower debris on the carpet, noticing the welts on her skin. “What happened?”
“I bought them,” she said, tears streaming quickly down her cheeks. Her voice was thick, ashamed. “I did this to myself.”
“They should have known it’s impossible to go back,” they said to their friends, condemning your parents for having failed at both ends. We had stuck it out as immigrants while you had fled; had we been the ones to go back to India, my parents seemed to suggest, we would have stuck it out there as well.
“It makes me wish we weren’t Hindu, so that my mother could be buried somewhere. But she’s made us promise we’ll scatter her ashes into the Atlantic.”
I looked at you, confused, and so you continued, explaining that there was cancer in her breast, spreading through the rest of her body.
They would recall all of this, perhaps not as clearly as I remember those first months at your parents’ home, but nevertheless they would remember. Like them I had lost a parent and was now being asked to accept a replacement. I wondered how well they remembered their father; Piu would only have been five at the time.
And yet without his even realizing it, firmly but without force, Navin pulled me away from you, as the final gust of autumn wind pulls the last leaves from the trees.