55 pages • 1 hour read
Shilpi Somaya GowdaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Names shift throughout Secret Daughter: Usha becomes Asha when Somer and Kris adopt her; Krishnan becomes Kris when he moves to America; Kavita and Somer both take their husband’s family names when they are married; Bombay becomes Mumbai. As Kavita reflects in Chapter 5, there is great power in giving a name to another human being:
What power there is in naming another living being, she realizes, looking at the child. When she married Jasu, his family changed her name to Kavita, which suited them and the village astrologer are better than Lalita, the only name her parents had chosen for her […] Usha is Kavita's choice alone, a secret name for her secret daughter. The thought brings a smile to her face (25).
When Kavita names her daughter Usha, she reclaims some of the power she does not have as a woman in traditional Indian society. When Krishnan is named Kris, it reflects the power of American culture to suppress one’s “foreignness,” if one wants to partake in the American Dream. When Kavita and Somer both take on names dictated by their husbands’ families, it shows how women, regardless of whether they are wealthy Westerners or impoverished Indian women, are subjugated to their husbands. In Secret Daughter, the motif of names underscores themes of oppression and hypocrisy by shining a light on where the power lies—it draws attention to the power of men, to the power of Western culture, and to the power of whomever or whatever entity is giving the name.
From bapu (meaning “father”) to shukriya (meaning “thank you”), various Indian terms appear throughout Secret Daughter. This not only serves to celebrate Indian culture in an authentic way, it also highlights themes surrounding power, particularly with cultural capital, related to the other motif of names/naming within the book. In most instances, the reader—presumably, a Westerner—is not given an explicit definition in the text of the novel; instead, the reader must use context and other clues within the text to understand the meaning of the word. For example, in Chapter 27, Kavita says to Vijay: “You don’t ask me questions, achha” (143). Achha means “OK,” and the reader intuits that over the course of the conversation. In this way, the reader is provided an immersive experience, which better helps them to empathize with the many characters (Kavita, Kris) who must assimilate to a culture that is not their own. That said, the author does provide a glossary of “Foreign Terms” at the end of the novel, in case the reader needs further guidance to help interpret the terms. The glossary also indicates that the book is likely geared toward Western audiences. Using Indian terms confers power to Indian culture by not entirely prioritizing the English language as the main method of communicating Asha’s story.
Throughout Secret Daughter, there are numerous dichotomies: there is income disparity (Kavita’s poor family versus Somer’s wealthy family); cultural differences (Indian versus American culture); and social/class differences (rural vs. urban life). The gender binary—male vs. female—is also another major dichotomy the novel explores at length. Each of these dichotomies serves to emphasize themes in the book related oppression and subjugation. One prominent example is when Meena, Asha’s mentor at The Times of India, explains to Asha about the “extremes” of India in Chapter 35. When Meena shows the slums of Dharavi to Asha for the first time, she says to Asha: “[T]here are two Indias. There is the world you'll see at your father's home, with spacious flats, servants, and outrageous weddings. And then, there is this India. It is a good place to begin your study” (189).
Indian cuisine is typically known for being spicy, which to a Western pallet, can sometimes be uncomfortable to eat. Throughout the book, spice and one’s tolerance to spiciness serves as a motif that draws attention to the “foreignness” of a person in a given place. For example, Somer cannot handle the spice of her in-law’s cuisine in Chapter 14, while Kris bemoans the blandness of Thanksgiving dinner in Chapter 23. When Asha tries the traditional Indian dish pau-bhaji for the first time, she is taken aback by the spiciness of the meal: “She takes her tentative first bite. It is tasty. And very, very spicy” (187). By the time Asha leaves at the end of her year in India, however, her pallet has been accustomed to the spice level, thereby signaling her integration and greater understanding about her own Indian heritage. Asha, to an extent, is less “foreign” to herself by the book’s end.