You Bring the Distant Near

“‘Where are you from?’ ‘London,’ Starry responds, without hesitation. I’m not sure I’d answer that question with just one word, like my sister. Where are we from? It’s complicated.”

The Das family’s immigration from London to New York in 1973 highlights their family dynamics and their complex cultural identity. Sonia’s narration points out differences between herself and her sister. While Tara has a breezy and charming personality, Sonia is more self-contained and introspective. Sonia describes the question of where they’re from as “complicated” because she’s an Indian-born Bengali girl who has spent much of her life abroad. The Das family lived in Ghana and London due to Rajeev’s work. These moves weigh on the parents’ relationship and complicate the daughters’ sense of cultural identity. Eventually, the members of the Das family find reconciliation and a sense of home in the United States.

“I was furious. Calcutta?! Where my grandmothers cried because I wasn’t a boy? How can you give a strange middle-aged British man that much power over our lives? I demanded. I’m sorry the world is like that, Mishti, Baba answered. But my job is to protect you girls from those kinds of idiots. Thankfully, for once Ma agreed with me. I’m not moving in with your mother, she argued. I’ll be judged right and left. No privacy. No freedom.”

The dispute prompted by the drunken neighbor’s attraction to Tara touches on the themes of family dynamics, womanhood, and Culture. In a rare moment of concurrence between Sonia and her mother, both reject the idea of returning to Calcutta (Kolkata) because of the misogyny they faced there. Ranee worries that she will “be judged left and right” by her in-laws and the other women in Calcutta (Kolkata) because she has no sons. The grandmothers’ disappointment over Sonia’s sex and Ranee’s mother-in-law’s judgment show how women experience internalized misogyny and perpetuate demeaning views of women in patriarchal systems.

“If our school were a theater, the Bengali girls were invisible now, high up in the balcony seats somewhere. I didn’t want to join them, admiring British-born actors who loved, cried, fought, and lived while we applauded. Nobody was going to shove a Das girl into the cheap seats. That’s when I became Lulu, and then Diana. Twiggy was my last and greatest transformation.”

Developing the theme of Womanhood and Empowerment, Tara gains empowerment through acting while her sister does so through writing. Tara’s performances also connect to the theme of cultural identity because she begins imitating white celebrities in her day-to-day life to avoid becoming an “invisible” audience member to life’s dramas like the other Bengali girls in her class. Eventually, Tara achieves success with her acting skills in a way that celebrates her Bengali culture by becoming a Bollywood movie star.

“‘Ranee’ means queen, and right now she’s reminding me of one. ‘If my daughters are qualifying for a special program of some sort, they should be placed in those classes only.’”

In Chapter 3, Ranee becomes the titular “Queen of Bargaining” during Sonia’s first day of high school in New York. Mrs. Das has only been in the United States a few weeks, and this is her first time setting foot in the school, but she holds herself like a queen and emerges victorious in her negotiations with the white principal. Sonia and Ranee’s relationship remains tense at this time, and Sonia sometimes feels as though her mother only cares about Sonia’s good grades because they elevate her social status. Regardless of her mother’s motivation, Sonia benefits when Mrs. Das uses her shrewd negotiation tactics to ensure that her daughter receives the best education available.

“The woman’s eyes roam down my body and return to my face. ‘And her skin is so black! Americans probably don’t even recognize her as a Bengali.’ This time I can’t stop myself. ‘You mean they might think I’m black? That’s wonderful! I’ll fit right in.’ I roll up my sleeves and stretch my dark, strong forearms into the space between us, right under Harm’s nose.”

Sonia’s exchange with the woman she nicknamed Big Harm develops the themes of Womanhood and Empowerment and cultural identity. Sonia refuses to tolerate the elderly Bengali woman’s colorism. The teenager is proud of her skin, as seen by her decision to roll up her sleeves and show off her “dark, strong forearms,” and she does not let anyone shame her.

“She’s to blame for our family falling apart. Why can’t she see how hard Baba is trying? He asks me to give her respect and honor, but how can you respect and honor someone who doesn’t return it? She values my success in school, but only because it elevates her social status. What if I did run away? I don’t think I can stand this prison of an apartment much longer. But think of Baba and Starry; I could never do that to them. No, I’m stuck here. The worst part of it, the very worst, is that deep inside I still love her. I may not like her much, but I can’t help loving her.”

Sonia’s diary entry explores the difficulties that plague the Das family dynamics. The 15-year-old sees Ma as the reason the family is “falling apart,” yet she “can’t help loving her.” Sonia’s diary is a motif for the theme of empowerment because it grants her a sense of freedom and power. Ranee reads this very diary entry later in the chapter, and it causes her to make a concerted effort to change her behavior toward her husband.

“‘You’re not arranging my marriage,’ my sister says. ‘I’m not even sure I want to get married. It’s such a patriarchal institution. This is exactly why I’m never going back to India!’ ‘Indian women could teach your American bra-burners a thing or two,’ Ma retorts. Sunny leaps to her feet. ‘YOU?! What do you know about women’s rights? You just said you were married off at age eighteen!’ ‘Your feminists don’t realize that there are different kinds of power,’ Ma interrupts, her accent taunting the one English word in her sentence.”

This argument between the Das sisters and their mother addresses the themes of Womanhood and Empowerment and Family Dynamics and Cultural Identity. Tara has no desire for an arranged marriage, which is a Bengali tradition. Sonia literally and metaphorically leaps to her defense, emphasizing the strength of the sisters’ bond. Ma’s claim that “there are different kinds of power” adds another layer of nuance to the debate over marriage, suggesting that it is possible to be both an empowered woman and follow Bengali customs. Throughout the novel, three generations of women in the Das family seek to find their own balance between the two.

“‘All people are not treated equally,’ Ma retorts. ‘It’s like that everywhere in the world. In India, people assume that if you have dark skin, you’re from a lower caste. Here, it’s the same—black people are the lowest caste in this country.’ That triggers Sunny to fury. ‘If it weren’t for closed-minded people who keep perpetuating racial stereotypes—!’”

Developing the theme of Family Dynamics and Cultural Identity, Sonia and her mother have many bitter fights over race. Ranee compares racism against Black Americans to the caste system and colorism she witnessed in India and uses this comparison to justify her bigotry. On the contrary, Sonia, who is a fierce defender of human rights, challenges her mother’s biases. This argument over race foreshadows how Sonia and Ranee’s relationship deteriorates after Sonia marries Lou, who is a Black man.

“Ms. Barry is studying my face. ‘Have you acted before?’ I tell the truth: ‘I’ve been acting ever since I can remember. But never onstage.’ ‘Are you willing to work hard?’ ‘Very.’”

Tara excels the first time that she acts onstage, and her sister and father are there to support her. What started as a coping mechanism blossoms into a dream for Tara. This beautiful, triumphant moment connects to the themes of empowerment and family dynamics and foreshadows Tara’s success as a film star.

“‘I like your head, kid,’ Mohan says to me. ‘Thanks,’ I answer. ‘What about you?’ he asks my sister. It’s Starry’s turn to look up at the portrait and urn on the mantel. ‘I promise to empty that urn into the Ganges,’ she answers. Ma’s hands reach over to stroke my skull and pat Starry’s cheek. Then she stands and turns to face the room. ‘My daughters and I will stay in America,’ she says. ‘In this house that their father bought. Please let the prayers begin for his soul.’”

In an important moment for the themes of Family Dynamics and Cultural Identity and Womanhood and Empowerment, Ranee and her daughters come together at Baba’s shradh ceremony. Sonia shaves her head and recites the prayers, taking on the customary role of the oldest son of the deceased. Her mother and sister join her in going against Bengali tradition and instead honoring Baba in a way that is right for them. Ranee’s dialogue in this excerpt is the first time she has spoken since her husband’s death, and her support for Sonia’s defiance of tradition marks a stark contrast to her usual criticism of her daughter. This demonstration of unity is an encouraging sign that they will support one another and grow stronger together after their loss.

“Lou doesn’t mind when I escape into a corner of a museum or café to write. Staying in the vicinity so we don’t get separated, he gives me space and time to scribble the words that are starting to flow again from my pen. I’m making this journal a letter to Baba, writing as though he’ll be waiting for me with open arms at the airport.”

From its origins in Paris, Sonia’s relationship with Lou exemplifies the theme of Love and Understanding Across Cultures. The kindhearted, considerate young man supports her writing and helps her begin to process Baba’s death. This also connects to the theme of empowerment. Writing has always been a source of strength for Sonia, and she is able to write again for the first time since Baba’s death during her time in Paris.

“Then, just as my sister had, just as my father always used to, Lou reaches over to take my hand in both of his. He holds it; he doesn’t let go. I close my eyes, and the strong, gentle hands around mine become Starry’s, and then Baba’s, until finally I feel the scarred hands of an unseen Liberator sheltering my own.”

In a powerful scene for the theme of Love and Understanding Across Differences, Lou offers support to Sonia as she finally allows herself to cry over her father’s death. Although the teenagers haven’t known each other long, their experiences in Paris bring them close. The trust that Sonia shows to Lou and the care that he demonstrates for her in this passage foreshadow their marriage. Additionally, the last sentence in this excerpt alludes to Christ, which foreshadows Sonia’s conversion to Catholicism.

“I hope he isn’t going to propose again. Because if he asks a third time, I might cave and say yes. Then Amit and I would become a Bengali couple in an arranged marriage, playing the same roles as our parents and grandparents and Das and Sen family ancestors have for generations.”

This passage explores the complex array of factors that complicate Tara’s feelings toward Amit. Although she likes him, she doesn’t want to be typecasted because of her cultural heritage and family history. Tara’s internal struggle in this chapter connects to the themes of Family Dynamics and Cultural Identity and of Womanhood and Empowerment.

“Baba’s voice inside my head gives me courage: Be blessed, my Star. I answer him with the truth: For me, Baba. For me. ‘Ripe and ready,’ I tell Amit, and look into his face, letting him see the desire and acceptance and hope in my eyes.”

The scene in which Tara kisses Amit during their visit to the Das family’s old farm marks an important development for Tara’s character and for the theme of Womanhood and Empowerment. Even though traditional Bengali culture would approve of the match, she is actively choosing to pursue a relationship with him rather than simply following or categorically rejecting tradition. This decision resolves her internal conflict, and Amit’s love helps her heal her grief over her father’s death.

“Moving to this quiet New Jersey neighborhood—owning a bit of land after his family lost the ancestral property during the war—restored him. This house and garden brought back the sweet man she had begun to love after their wedding, before the pregnancies, the miscarriages, the moves, and the money worries. Or maybe the sweetness started in their Flushing apartment, after their daughter’s written words had exposed her contempt and erased the sharpness from her tongue. Toward him, at least. She made him happy after that. Or at least tried to.”

This excerpt offers insight into Ranee Das and the love and losses that shape her character. The mention of her “daughter’s written words” refers to the diary entry that the 15-year-old Sonia penned back in Chapter 4 in which she blamed her mother for causing the family to fall apart. Six chapters and several years later, the story reveals the profound impact that reading Sonia’s diary had on Ranee and her marriage. Chapter 10, which focuses on Ranee, is told in third-person narration whereas her daughters and granddaughters narrate their own chapters in first person. This stylistic decision emphasizes how lost and disconnected Ranee feels at this point in the story; she does not feel in control of her own narrative, so she is unable to tell it in her own words.

“Ranee keeps her eyes on the ripeness of her daughter’s belly and obeys the voices. ‘You dishonor your father’s memory.’ Sonia’s voice dwindles to a whisper. ‘No, Ma. I don’t. But you do. Baba would have welcomed all three of us.’ She’s right, and they both know it.”

Ranee shutting out the pregnant Sonia marks the lowest point in their difficult relationship and a major incident for the theme of family dynamics. Eventually, their relationship will be mended and improve beyond recognition thanks to Chantal, whom Sonia is pregnant with in this scene. For these improvements to take place, Ranee must be willing to overcome her racism and her adherence to traditional expectations, even at the expense of her loved ones.

“‘I. Am. Black,’ I say. ‘I. Am. Bengali. I. Am. BOTH.’”

Chantal develops the theme of Family Dynamics and Cultural Identity by explaining to her parents and grandmothers how she feels as though she’s not Black enough for some people and not Indian enough for others. This scene occurs after Chantal’s Indian dance instructor gives the lead to someone else based on appearance, even though Chantal is the best dancer in the class. This rare outburst from the easygoing, peace-keeping teenager leads her grandmothers to finally put aside their differences and become allies with a common cause, looking after their cherished granddaughter.

“Harper finally cracks a smile. ‘I suppose I don’t see anything that would make any girl ashamed of her body,’ she says. ‘On the contrary. Let’s go, Rose. I’ll let Dr. Williams know this is okay by me.’”

After the unveiling of the made-over girls’ locker room, Coach Harper, the PE teacher, gives her approval. This scene connects to the theme of Womanhood and Empowerment because this is the first time that Anna feels like she’s able to successfully share her skills and interests since she started attending an American high school. This also touches on the theme of Love and Understanding Across Differences because Jenna, a Somalian Muslim girl, is the one who suggested the design project to help girls who need more privacy than the locker room previously afforded.

“‘Maybe you and Didu can teach me how to sew, too?’ ‘I’ll be happy to, Shanti Didi.’ It’s the first time I’ve ever called her ‘older sister.’ ‘But you have to teach me how to hit a home run in softball. Deal? Ooh, I sound so American, don’t I?’ ‘It’s a deal, American Anna.’ And my cousin the goddess enfolds me completely in a hug, making me feel like a doll again. But the one-of-a-kind, collectible type.”

This affectionate scene between Chantal and Anna develops the theme of family dynamics. The cousins grow up in different countries, and listening to their relatives praise the other causes them to view one another with jealousy. After Anna moves to New York, the cousins grow much closer and come to appreciate rather than envy each other’s skills.

“We’re too different, and it’s bound to come out one way or another. My parents started their married life from scratch with nothing in the bank. We still live on a tight budget. Dad’s a sculptor and mom’s a freelance journalist; the Johnsons are about thrift stores, grocery store coupons, public transportation, and the old, black Catholic church full of people who put food stamps in the offering plate. The Larsens, on the other hand, inherited old money. They’re about exclusive Manhattan clubs, invite-only charity dinners, trips to St. Croix, and the fancy Episcopalian cathedral full of powerful white people just like them.”

In this passage, Chantal reflects on the racial, financial, and religious differences between the Johnson and Larsen families. Chantal doesn’t think her relationship with Martin will last because of these contrasts, but his reaction to the damage to the Porsche in this chapter changes that and emphasizes that love and understanding can bridge differences.

“Martin took the blame for me, I keep thinking. She held my hand in both of hers.”

Chantal didn’t think that her relationship with Martin could last. Still, her feelings about him, his family, and their chances for a future together change completely after he covers for her about the Porsche and his mother welcomes her with genuine warmth. Martin and his mother’s kindness connect to the theme of Love and Understanding Across Differences.

“Shanti peers closer at the man the two of us never knew. ‘My mother’s such a replica of Dadu.’ ‘You look a bit like him, too,’ Didu tells her. ‘And you have his sweet nature. Your mother didn’t receive that, I’m afraid, Shanti. But Anu’s mother is easygoing and sweet, just like their father used to be.’ It sounds harsh, but she’s right. Nobody could use the words ‘easygoing’ or ‘sweet’ to describe my aunt Sonia. She’s feisty, and enjoys picking fights, like me. But her fight against child marriage and her advocacy to end human trafficking are changing the world. My easygoing, sweet, Bollywood-film-star mother entertains the world. I know whose footsteps I’m following.”

This passage explores the theme of family dynamics by tracing personality traits and physical characteristics that have been passed down through generations of the Das family. Like Tara and her late grandfather, Chantal is “easygoing and sweet,” while Anna is proud to take after Sonia, whose “feisty” nature and fierce commitment to human rights are “changing the world.” Anna’s admiration for her aunt foreshadows her career working for a non-governmental organization that protects women from human trafficking.

“‘Those terrorists were so evil. When a good country like this one opens a door to foreigners only to get attacked in return, it changes you…I began to feel that this city is my home. It came nearer to my heart, not so distant. That’s how it started, but now it’s different. I am enjoying making friends my age in church—non-Bengali friends who don’t know the customs that keep a widow so lonely. And it has been so good to wear bright colors again. I think your Baba would enjoy seeing me in them, don’t you?’ She glances at Aunt Sonia, who nods, teary-eyed. ‘But I do miss a few things. Perhaps I went a bit overboard.’”

In this passage, Ranee Das explains her character development in her own words. September 11 motivates her to become an American citizen after living in the United States for decades. This dialogue connects to the theme of family dynamics and cultural identity because Ranee’s family helps her to find a balance between Bengali and American cultures and realize that her cultural identity doesn’t have to be an either-or scenario. In addition, this passage touches on Perkins’s use of color symbolism. Ranee’s decision to begin wearing the “bright colors” that “Baba would enjoy seeing” on her again after decades in white widow’s saris shows that she is at last healing after her husband’s death. Lastly, Ranee’s statement that her home in the United States “came nearer to [her] heart, not so distant” echoes the novel’s title.