Middlesex--Jeffrey Eugenides
I read Eugenides' first novel The Virgin Suicides about a year ago,
and was struck by how well written it was. The narration is in first
person plural--something you don't see a lot of in current
fiction--which had the effect of making me feel included in the story
in a way I wouldn't have felt with a more traditional narrative voice.
It has been pointed out that the narration acts like a Greek chorus as
seen in classical Greek drama.
The Virgin Suicides is almost dreamlike in its telling of the story of
five sisters in a strict Catholic family who are driven to kill
themselves over a relatively short period of time. The narrator is
actually the collective voice of all the young men, themselves on the
cusp of puberty, who are fascinated by the mystery of all girls, and
the glamorous tragedy of these in particular. The novel captures the
confusion of adolescence, when young men are attracted to young women,
while learning how little they understand them.
I was hoping for something as affecting in Eugenides' Pulitzer Prize
winning Middlesex, but I was disappointed. The story hangs on the
spine of Calliope Stephanides, a girl raised in Detroit of the 1970,
who is discovered to be a hermaphrodite at the age of 14. Many years
later, having decided to live as a male, Cal Stephanides narrates the
story of how he received the recessive genetic condition that made him
neither fully male nor fully female.
The story starts with Cal's grandparents, Desdemona and Lefty
Stephanides, a Greek brother and sister who lived in a small village
in Turkey while it was occupied by the Greeks. As they realize their
attraction to each other--compounded by the absence of other romantic
candidates--the Turks retake the country and they have to flee. On
board a ship to America, they enact a courtship as if they had only
just met, marrying at sea and beginning their new lives as man and
wife.
This was the most interesting of the stories--the one where Eugenides
most unleashed his ability to imagine other places and times and make
them real. The subsequent story of his parents generation--first
cousins on top of the illicit parentage of one of them--simply doesn't
seem to engage his interest, and if one can say he "skips lightly"
over anything in a book this long, one would have to say it about this
section.
Cal's troubled girlhood is really unremarkable, which is bizarre given
the lengthy set up to her birth. She has her share of childhood
experiences and friendship troubles, but her condition escapes notice
until she fails to hit puberty. At that point, after close observation
by a specialist, the recommendation is made to surgically conform her
body to her gender identification--female. Cal, however, has been
lying to the doctor about how she truly feels about topics of
sexuality and attraction, and so s/he declares himself to be a boy and
runs away.
At this point, I lost my patience with the story. Mind you, I had read
about seven thousand pages by now, all of which seemed to be
foreshadowing things that simply weren't happening. And after that
point, it got silly. Cal found his way to San Francisco where he
performed in a hermaphroditic strip club. The local priest tried to
extort money from Cal's parents, and Cal's father died in a high speed
chase across the Canadian border. Eventually, I just put the sucker
down.
What I loved about The Virgin Suicides was the amazing way he
demonstrated the different worlds the boys and girls lived in--the
oppressive horror of the girls' restricted lives, and the romantic way
the boys perceived those lives. I had hoped for Middlesex to take that
contrast one step closer, showing how the boy/girl experienced the
differences of living with those different gender identities. Instead,
when I got to mutual declarations of hermaphroditic free love in San
Francisco, I found myself in a different book than the one I had
wanted to read.
I started this post in March of 2006, and only finished it in October
of the same year. And in the intervening 7 months, I have had no
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