Asare, Sophia (9. mars 2007). «Mira Nair on The Namesake». EW.com (på engelsk). Besøkt 6. november 2021. «There is a little bit of director Mira Nair in all of her films. She introduced audiences to a lively Punjabi family much like her own in the international hit Monsoon Wedding, while in her latest film, The Namesake, Nair sought to capture an American immigrant experience similar to the journey she took upon coming to the U.S. from India as a young student. The movie, which opens today, is a compelling interpretation of Jhumpa Lahiri’s celebrated novel about a Bengali couple, Ashima and Ashoke, who leave Calcutta to build a life and family together in New York; and their American-born son, Gogol, who grapples with his cross-cultural identity. Nair spoke with EW.com about the tragic loss that led her to The Namesake, why she portends an Oscar for one extraordinary performance in the film, and her upcoming project with Johnny Depp.»
gf.org
Guggenheim Fellows database, Guggenheim fellows ID jhumpa-lahiri, besøkt 6. august 2017[Hentet fra Wikidata]
Nair, Mira (6. april 2007). «The Namesake». Fox Searchlight Pictures, Cine Mosaic, Entertainment Farm (EF). Besøkt 6. november 2021. «American-born Gogol, the son of Indian immigrants, wants to fit in among his fellow New Yorkers, despite his family's unwillingness to let go of their traditional ways.»
Holden, Stephen (9. mars 2007). «Film Review: Modernity and Tradition at a Cultural Crossroads». The New York Times (på engelsk). ISSN0362-4331. Besøkt 6. november 2021. «“The Namesake,” adapted from Jhumpa Lahiri’s popular novel, conveys a palpable sense of people as living, breathing creatures who are far more complex than their words might indicate. The story of upwardly mobile immigrants torn between tradition and modernity as they are absorbed into the American melting pot has been told in countless movies. | This variation is gentle and compassionate. The longing for roots of these displaced middle-class Indians lends a soulful undertow to a film conspicuously lacking in melodrama.»
«Jhumpa Lahiri: ‘I’ve always existed in a kind of linguistic exile’». the Guardian (på engelsk). 1. mai 2021. Besøkt 6. november 2021. «Jhumpa Lahiri’s third novel is the triumphant culmination of her 20-year love affair with Italian, an obsession that led her to move to Rome with her family almost 10 years ago. She renounced all reading in English and began to write only Italian. Published in Italy in 2018 as Dove mi trovo – “Where I find myself” or “Where am I?” – it is her first novel written in Italian. Now she has translated it into English under the title Whereabouts.»
Julie Myerson (17. januar 2004). «Review: The Namesake by Jhumpa Lahiri». the Guardian (på engelsk). Besøkt 6. november 2021. «Lahiri is barely more than three decades old herself, and won a Pulitzer prize for her short-story collection Interpreter of Maladies. It's easy to see why. She has a talent - magical, sly, cumulative - that most writers would kill for. Peer closely at any single sentence, and nothing about it stands out. But step back and look at the whole and you're knocked out.»
thespool.net
«"The Namesake" beautifully explores the liminal states of immigrant life». The Spool (på engelsk). 27. januar 2021. Besøkt 6. november 2021. «Every month, we at The Spool select a filmmaker to explore in greater depth — their themes, their deeper concerns, how their works chart the history of cinema, and the filmmaker’s own biography. For January, we look back at the multi-faceted career of Indian-American filmmaker Mira Nair, whose textured works expertly thread social, cultural, and narrative borders.»
Holden, Stephen (9. mars 2007). «Film Review: Modernity and Tradition at a Cultural Crossroads». The New York Times (på engelsk). ISSN0362-4331. Besøkt 6. november 2021. «“The Namesake,” adapted from Jhumpa Lahiri’s popular novel, conveys a palpable sense of people as living, breathing creatures who are far more complex than their words might indicate. The story of upwardly mobile immigrants torn between tradition and modernity as they are absorbed into the American melting pot has been told in countless movies. | This variation is gentle and compassionate. The longing for roots of these displaced middle-class Indians lends a soulful undertow to a film conspicuously lacking in melodrama.»
