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Previous issue date: 2016-02-24 === This work consists in the analysis of the novel Everything was good-bye, by Gurjinder Basran, having the perspectives of Cultural Studies as the focus for the research. It centralizes the analysis of this literary work in the discussion about the divided identity of the protagonist character of the novel. It specifies within the concept of culture the questions related to cultural identity, that being important for the identity analysis of the main character, Meena, as the protagonist in question puts in doubt her Indian traditions when she compares herself to other Canadians with whom she is sociable. It presents the distinction between multiculturalism and interculturalism, to highlight the significance of the contact between the different cultures and what it results from this approximation. It discusses the diasporic movement, from narrative main family’s perspective, which has an Indian origin, but it resides in the Western side. It evidences the autofiction marks present in Gurjinder Basran (2010)’s novel, reinforcing the protagonist’s identity formation that it discusses. It analyses the protagonist’s position towards her family, her school and work colleagues and her three great loving relationships. === Este trabalho consiste na análise do romance Everything was good-bye, de Gurjinder Basran, tendo como foco as perspectivas dos Estudos Culturais. Centraliza a análise desta obra literária na discussão sobre a identidade dividida da personagem-protagonista da obra. Especifica dentro do conceito de cultura as questões relacionadas à identidade cultural, sendo importante para a análise identitária da personagem central, Meena, pois a protagonista em questão coloca em dúvida suas tradições indianas ao comparar-se aos demais canadenses com quem convive. Apresenta a distinção entre multiculturalismo e interculturalismo, para ressaltar a significância do contato entre as diferentes culturas e o que resulta dessa aproximação. Discute o movimento diaspórico, a partir da perspectiva da família central da narrativa, que é de origem indiana, mas reside no ocidente. Evidencia as marcas de autoficção presentes no romance de Gurjinder Basran (2010), reforçando a formação identitária da protagonista que discute. Analisa o posicionamento da protagonista frente à sua família, aos seus colegas de escola e trabalho e aos seus três grandes relacionamentos amorosos.
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