Generally speaking, a lot of thought goes into choosing character names. Sometimes a name is chosen because it is appropriate to the age of the character, culture and era. Sometimes the name is aesthetically pleasing. Sometimes the name is symbolic.
NEW NAME, NEW SELF
When Walter White changes his name to Heisenberg, he has created an entire alter ego. Breaking Bad is a modern superhero story. We are familiar with superheroes, ever since Super-man/Clark Kent. This is such obvious symbolism it doesn’t hold up to much more scrutiny than that.
LOSS OF NAME, LOSS OF TRUE SELF
This is a pervasive idea throughout literature, even though we obviously don’t subscribe to it in real life. Women in the West are still largely expected (and do) change surnames when marrying a man, yet we don’t believe she has lost a part of herself. When Chinese speakers immigrate to English speaking countries they quite often adopt a name which is pronounceable and memorable for native English speakers. Do those immigrants with several names feel they have lost a part of themselves? Or do they feel their name is simply the label they attach to themselves in certain contexts?
How many names do you have?
My name (Lynley) is a ridiculous tongue-twister to native Japanese speakers, so while I lived in Japan my name was switched to my last name (Stace). It’s common for even young Japanese people to go by their last name in Japan — it seems to be a bit of a lucky dip whether you’re known by your first or your last name, whereas in my home country (New Zealand) young people very rarely go by their last name, unless there’s a specific reason for doing so. (One of my brothers made friends with all of the Davids in his year so he, too, went by the name Stace for clarity purposes.) I have never gone by our last name Stace outside Japan, though I like to keep it for use online. I felt nothing about me changed when my moniker changed.
That doesn’t tend to be true when it comes to fictional characters.
Take the Hayao Miyazaki film Spirited Away. Chihiro becomes Sen — the Chinese reading of a shortening of her Japanese name — until she can escape from the enslaving world ruled by the bath woman.
After Yubaba steals part of Chihiro’s name, Haku warns Sen not to forget her former name or she will be trapped in the spirit world forever. Sen must remember the qualities that make her who she is and remain true to them, even though her name, the one word that defines her, has changed. Sen succeeds in keeping her identity and also helps Haku regain his, ultimately freeing them both. Haku is living proof of the dangers inherent in forgetting one’s true identity. Names are of fundamental importance in the spirit world, and those in power keep their control by stealing and changing names. Only those characters with the inner strength to hold onto their names and identities can free themselves.Spark Notes
After The First Death is young adult thriller from the 1970s by Robert Cormier. This story contains similar name symbolism — characters forfeit their names.
Part One opens with a first person narrator who feeds us his name in dribs and drabs.
Part Two switches point of view. These Middle Eastern terrorists have lost their names entirely, trained to forget them by means of dedicating themselves to the cause. Cormier is careful to emphasise that these terrorist, foreign boys have names — or had them. This turns them into individuals. The sociopathic terrorist among the group shows us his true colours by angering a waitress when he chooses to ignore her wishes to be called by her own name rather than one he has designated. By taking her name he demonstrates his ability to turn off empathy. This guy is therefore posited from the beginning as a cold-blooded killer.
“That will be all, Myra,” Artkin said.After The First Death by Robert Cormier
“What did you say?” she asked.
“I said, ‘That will be all, Myra.”
“My name’s not Myra,” the girl said.
Artkin smiled at her. “Of course it isn’t,” he said. But his voice suggested the opposite, his voice and his smile. They hinted wickedly of deep secrets.
“Well, it isnt,” she said. “My name’s Bonnie, although the priest didn’t like it because there’s no Saint Bonnie.”
“Please give us the check, Myra,” Artkin said, voice cold now, uninterested.
“I said my name’s not Myra,” she muttered as she totaled up the bill.
“Myra’s a nice name. It’s nothing to be ashamed of,” Artkin said.
Her face reddened, accentuating the acne, the pimples and small scabs. Artkin could do that to people, intimidate them, draw them into conversations they did not want to be drawn into, force the into confrontations.
“Think about it, Myra. How old were you when you were baptized? Two weeks, two months? Do you remember being baptized with the name Bonnie? Of course not. It’s what people have told you. Have you ever seen your birth certificate? Not he thing they give you when you go to City Hall for a copy, but the original? The one that says your name is Myra. You’ve never seen it, have you? But that doesn’t mean it does not exist. You have never seen me before but I exist. I have existed all this time. I might have been there when you were baptized, Myra.”
She stood there for a moment, the check in her hand, hesitant, doubtful, her eyes wary, and Miro knew that this was what Artkin had worked to do: create this split second of doubt and hesitation. He knew that he had reached his mark, drawn blood. Then the moment vanished. The girl flung the check on the table.
“You’re nuts,” she said, and turned away, shaking her head at all the strange people loose in the world.
NAMES AS CHARACTER SYMBOLS
If you have a name it can set someone in place. I have a great friend in California, the Irish novelist Brian Moore. We were having dinner one night and Brian said that when he was a newspaperman in Montreal a local character there was named Shake-Hands McCarthy. I said, Stop! Are you ever going to use that name? He said, No, let me tell you about him. I said, No, I don’t want to know anything about him. I just want to use that name. So the name turned up in True Confessions.JOHN GREGORY DUNNE
A character’s name is a children’s story is quite often symbolic. Symbolic names are also common in comedy, but are less frequently seen elsewhere, in stories that aim for mimesis (realism). In the real world, after all, people’s personalities are not connected to their names. (And even if your teacher is called Mrs Bellringer and your dermatologist is called Dr Healsmith, that isn’t useful in a suspenseful crime novel.)
Also known as:
- a label name
- allegorical name
- When the name of a fictional character describes their personality or occupation, it is called an aptronym. Or sometimes aptonym (without the ‘r’)
SYMBOLIC NAMES IN CHILDREN’S STORIES
- Enid Blyton loved label names — think Watzisname, Dame Washalot, Silky and Moonface. from The Magic Faraway Tree series. These names were very literal. Blyton steered clear of ironic symbolism.
- The Seriously Extraordinary Diary Of Pig by Emer Stamp features some farmers called Mr and Mrs Sandal, who happen to be vegetarian. This is a symbolic name for the adult co-reader, as I’m not sure young readers would always know how heavily sandals are associated with vegetarianism — mostly because this was true back in the 1970s, I think.
- The entire cast of Mr Men and The Smurfs
- Beautiful Bella from the Twilight series
Some names are symbolic mainly because of the history of stories that precede them. In children’s literature, having Little before your name means chances are slim of you ever becoming Big. You’ll probably die.
DO SYMBOLIC NAMES COMPROMISE REALISM?
The middle grade novel A Long Way From Chicago by Richard Peck is filled with characters with colourful names. Early in the story we meet the Cowgills. The child narrator lampshades the symbolism of the name by writing: “It may have been just a coincidence that a family named Cowgill owned the dairy. I never knew.” This lampshading is necessary because Peck is basically going for nostalgic historical realism. It also leads to some humour.
It works because sometimes a real person does seem to have a symbolic name, in which case it’s comically coincidental. Donald Trump springs to mind. I do know a teacher called Mrs Bellringer.
A Slate culture writer makes a good case for avoiding subtlety, and he’s talking about stories for adults.
Writers of popular adult stories seem to subscribe to this view, though symbolic names for adult characters tend to take on a different form — the main characters in True Detective are called Hart and Cohle, which is symbolically linked (Heart and Coal) to their personalities and character arcs. This weaker connection is safer if you’re hoping to avoid metafiction.
Another very similar example occurs in The Sixth Sense, starring a main character called Malcolm Crowe. Crowe is dead, so one could argue Shyamalan is giving us a big clue in with the character’s name. Cole Sear: “Cole” compared to “coal” which is black like death. “Sear” compared to “seer,” someone who has keen insight. Of course, Cole has the insight that Malcolm is a ghost (“I see dead people”).
SYMBOLIC NAMES IN STORIES FOR ADULTS
Stories for adults also feature characters with symbolic names, especially if they are comedies. Will Freeman of About A Boy is one example. Tied down to no one, this man-child really does live under the illusion of free will.
PHONETICALLY APPROPRIATE NAMES
An excellent example of this is Dwight Kurt Schrute of the American Office, and I have wondered if his name is inspired by Wyatt Berry Stapp Earp, whose full nam would be much improved without the ‘Berry’.