in the world.  His relationship with Maxine is an extension of this.  With the death of his father and the reevaluation of his behavior, his family plays a role in his identity as he spends more time with them, even entertaining the idea of marrying the Bengalese girls, Moushumi.  When this relationship sours, Gogol's embrace of his name with the reading of a collection of the writer's work helps to establish that Gogol is more of a centered human being as he has made peace with who he is in the world, something that includes embracing his own familial background.  He has merged his identity with theirs.

Much of Gogol’s character can be understood in relation to a clever bit of foreshadowing that takes place when Gogol is six months old. During the Rice Ceremony, Gogol must choose between a dollar, a pen, and earth, each of which represents an adult profession; instead, he chooses none and cries. Unlike his six-month-old self, an adult Gogol chooses to firmly embrace American culture and rebel against his Bengalese heritage as an adolescent and young adult. He finds lengthy trips to India uncomfortable—as does his sister Sonia—and prefers to assimilate into America to a degree that his parents never did. He goes so far as to change his name, which he feels has burdened him for his entire life, and adopts a name that can be shortened to sound American. For part of the story, at least, Gogol’s choice is clear: in a battle between American culture and Bengalese culture, American culture is the resounding winner.

Gogol finds ambiguity difficult. As a result, he appears harsh in his efforts to distance himself from his parents and their shared culture. In truth, this actually showcases his own insecurity. He rejects his birth name for ludicrous reasons (arguing he couldn’t ask a girl out if his name was Gogol) and attributes his later success in relationships to his changed name, seemingly unaware that the problem had little to do with his name. To his mind, his problems are always due to external factors: his Bengalese heritage, his non-assimilating parents and extended family in India, his Russian name. In light of this, it makes sense that Gogol throws himself so fully into American culture. It is possible that Gogol believes his problems will disappear if he can assimilate fully.

Nonetheless, Gogol finds himself adrift after his father’s death. The revelation of his namesake has brought him closer to his family; following his father’s death he withdraws from his American girlfriend and becomes ensconced in his own family. When she becomes engaged to another man, he is largely unperturbed. Gogol is inflexible and largely incapable of holding two seemingly contradictory ideas at the same time. His acceptance of Bengalese culture runs parallel to his rejection of American culture. When he accepts his mother’s advice and asks Moushumi, a Bengalese woman, to marry him, his transformation is complete.

Gogol’s rigid nature is content for a time because he chose a side. This does not last, though: Moushumi has an affair with a man, so his marriage ends. After rejecting American culture and having been failed by Bengalese culture, Gogol turns back to his namesake. In many ways, the story ends where it began: with Gogol surrounded by various manifestations of his identity, possessing all and yet none. It is ironic that, unlike his infant self, it is not for lack of effort that Gogol finds himself in such a position—while Gogol is rarely likable, his efforts to establish an identity are sincere. He has embraced and rejected two cultures; now, at last, Gogol appears ready to define himself by his own terms.

Choosing the character of Gogol to focus on the quest of identity is a good choice indeed.  There are two ways to approach this topic with the character of Gogol: his search for cultural identity or his search for emotional identity.

Let's take Gogol's quest for cultural identity first.  As the story opens, Gogol wants nothing to do with his Bengalese family.  Gogol was born in America and feels tremendous pressure to be accepted as "American."  Gogol's family is seen simply as his stumbling block at this point.  It is Gogol's father's death that is the catalyst for this quest.  After Gogol's father dies, Gogol suddenly realizes how important his own Bengalese cultural identity is. 

They were things for which it was impossible to prepare but which one spent a lifetime looking back at, trying to accept, interpret, comprehend. Things that should never have happened, that seemed out of place and wrong, these were what prevailed, what endured, in the end.

He becomes less interested in the American Maxine and more interested in the Bengalese Moushumi.  Gogol seems to find his fulfillment in his Bengalese culture through this marriage and treats his wife well.  If the story ended there, it would certainly be a happy ending.  Unfortunately, Moushumi has issues of her own.

Another way we can analyze the quest for identity is by focusing on Gogol's emotional identity.  Especially at the beginning of the story, Gogol is very immature in dealing with his emotions.  He is quite stiff and closed-off unless he is involved with a woman (such as Maxine) at which point he becomes obsessed and unable to think of anyone else.  Just as in the first quest for identity, it is the death of Gogol's father that provides the impetus for change.  After Gogol's father dies, Gogol realizes what is really important.  Further, he matures enough to understand that Maxine is not necessarily the best woman for him.  He is beginning to embrace his family's roots and beginning to allow his own emotions to be a source of pride.  When this comes to fulfillment, he is able to meet, court, and wed Moushumi.  He has learned how to be a good husband (even though Moushumi certainly does not want to be a good wife).