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The Other, the Namesake: Cosmopolitan Onomastics in Chang-rae Lee's A Gesture Life

As Jacques Derrida writes in On the Name, "when a name comes, it immediately says more than the name: the other of the name and quite simply the other, whose irruption the name announces."l The other arrives in her name first, then. Put another way, the name-the proper name, in this case-is a dispatcher of otherness. A sign for somebody not yet fully present, the name is at once a deferral of presence and a cultural approximation thereof, for, while standing in for this other, her name also draws me into the heat of her proximity. She is not here-not yet-but her name tells me about her already. It narrates a story that makes up for her absence, and that story in turn evokes other presences by retelling their stories, naming their names. This onomastic intertextuality, novelist Chang-rae Lee suggests, operates not only within particular traditions2 but also across them. As such, it is an important vehicle of our time's expanding cosmopolitan culture. The other's name is not only a repository of otherness. In saying or listening to this name, I learn not just things about others, their traditions, and communities. "In the other's name" I also learn fundamental things about myself and the selves surrounding me. This is how I find out that the other's name concerns me, names me too as it were, evokes and invokes me and my world. The other's name summons up her presence, does remain fundamentally a signifier of otherness, of what continues to be different from me. But at the same time I feel that it is this very