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Overview

"I was born twice: first, as a baby girl, on a remarkably smogless Detroit day of January 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of l974. . . My birth certificate lists my name as Calliope Helen Stephanides. My most recent driver’s license...records my first name simply as Cal."

So begins the breathtaking story of Calliope Stephanides and three generations of the Greek-American Stephanides family who travel from a tiny village overlooking Mount Olympus in Asia Minor to Prohibition-era Detroit, witnessing its glory days as the Motor City, and the race riots of l967, before they move out to the tree-lined streets of suburban Grosse Pointe, Michigan. To understand why Calliope is not like other girls, she has to uncover a guilty family secret and the astonishing genetic history that turns Callie into Cal, one of the most audacious and wondrous narrators in contemporary fiction. Lyrical and thrilling, Middlesex is an exhilarating reinvention of the American epic.

 

Middlesex is the winner of the 2003 Pulitzer Prize for Fiction.

Winner of the 2003 Pulitzer Prize for Fiction.
Nominated for the 2002 National Book Critics Circle Award, Fiction.
2002 Lambda Literary Award Finalist, Transgender.

Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
Jeffrey Eugenides kept a fairly low profile after his first novel, The Virgin Suicides, caused a stir in 1993. With Middlesex, a sprawling yet intimate novel that earns the turning of every one of its 500-plus pages, he proves that the time was very well spent. Imagine a cross between E. L. Doctorow's classic Ragtime and one of the multigenerational epics of James Michener. Better yet, don't approach this book with any preconceptions -- just have an open heart and mind plus a willingness to let a novelist who knows what he's doing break a few storytelling rules.

Raised as a girl by her second-generation Greek-American family, Calliope (now Cal) Stephanides is physiologically a hermaphrodite and is more male than female. That's not giving away much -- Cal explains it on the first page. What's remarkable is that a book can start with such a revelation and still manage to be full of surprises. Narrated by Cal, the story also shares the thoughts, feelings, and intimate details of the lives of Cal's grandparents, parents, and other family members. In this omniscient first-person mode, we get an epic family saga, a journey from 1920s Greece to 1960s Detroit to contemporary Europe -- one that leads to a remarkably satisfying conclusion. To understand anyone, Eugenides seems to be implying, we need to know not only his or her (or in this case, "his/her") inner thoughts, but also those of all the ancestors whose DNA has contributed to the mix that created him/her.

"Sorry if I get a little Homeric at times," begs Cal. But she/he has nothing to apologize for. It's exactly that willingness to take this rich and accessible story over the top that makes Eugenides' novel so complexly and wonderfully moving. Lou Harry

Penelope Mesic
For the first fourteen years of life, Calliope Helen Stephanides, the narrator and main character of this second novel from the author of The Virgin Suicides, is a coltish schoolgirl, the bright, coddled daughter of a hard-working Greek family who own a chain of hotdog stands in Detroit. But for Calliope, the transformations of puberty do not consist of the usual ripening of womanly curves, but rather the solid musculature, husky voice and nascent mustache of shocking, unsuspected manhood. Named for the muse of epics—of which this wonderful comic novel is surely a modern version—Calliope is the rarest form of hermaphrodite. "Like Tiresias," she explains, "I was first one thing and then the other."

It is this dual viewpoint, as much as the oddity of her experiences, that prompts her to write. "I want to get it down for good: this roller coaster ride of a single gene through time. Sing now, O Muse, of the recessive mutation on my fifth chromosome!" Cal bravely declares, adding, "Sorry if I get a little Homeric at times. That's genetic too." It is in fact the first of many classical allusions. Homer called the sea "wine-dark." Landlocked Calliope, as befits her Motor City origins, mentions a "wine-dark Buick." Cal's mock-heroic announcement is the portal into so odd and yet so normal a chronicle of three generations of an American family that readers will find themselves gloating over the book's length and its consequent guarantee of extended pleasure.

The story begins in the tiny Greek village of Bithynios in 1922. Perilously near the Turkish border, it is a center of silkworm cultivation. Here, Lefty and Desdemona Stephanides, Calliope's grandparents, growup; and from here they flee to the port of Smyrna, where they precariously survive the sacking of the city by Ottoman troops. During their passage to the United States, the Stephanideses make a rash decision. Acting on an incestuous passion, they start their new life by declaring themselves not brother and sister but husband and wife.

In their commingled genes Calliope's fate is sealed. In the old country, this would be Greek tragedy. But in the America of Eugenides' novel—the land of optimism and self-transformation—consensual incest engenders only slightly more regret than it does in Tom Jones. At one point the author describes a lustful impulse by saying, "It was her body that did it, with the cunning and silence of bodies everywhere." In these pages, human frailty is excusable.

Human tyranny, however, is not. Thus Eugenides ridicules the paternalism of the Ford Corporation—which in its early years inspected workers' homes for signs of loose living, poor hygiene or similar transgressions against the American way of life—as Lefty attends compulsory training at the automobile plant. There he is forced to recite, "Do not spit on the floor of the home" and "The most advanced people are the cleanest." Similarly, the condescending doctor who torments Calliope with tests and seeks to exploit the rarity of her condition is as close as the novel comes to a villain.

In other literatures and cultures, a woman who permits incestuous relations would be an object of condemnation and horror. But a clue to how lightly we are expected to regard Desdemona comes when Eugenides describes the braids emblematic of her nature: "not delicate like a little girl's but heavy and womanly, possessing a natural power, like a beaver's tail." The sudden incongruity of the last two words raises the sentence from something one might find in run-of-the-mill magical realism to true, subversive comedy.

Such highly compressed, explosively sudden comparisons are Eugenides' forte. Some are charmingly written, as when Calliope's aunt Zoë sits so meekly in church that "the round gray hat she wore looked like the head of a screw fastening her to her pew." Others have the force of poetry, as when Calliope says of the freckled, red-haired schoolmate whom she secretly adores, "It was like autumn, looking at her. It was like driving up north to see the colors."

When Eugenides deals not in metaphor but in historical detail, he imbues facts with the same piquancy as his imagination. The 1967 Detroit riots that destroy Lefty's cozy, dumpy little restaurant, The Zebra Room, resonate with the Stephanideses' recollection of Smyrna in flames. And consider the antic boldness of making use of the Nation of Islam's Mosque Number One as the setting for the recently emigrated Desdemona's first job, teaching young black women how to make the silk for the congregants' robes.

Even a great-hearted novel such as this one has patches that are marginally less satisfying. Eugenides' home turf is adolescence. Perhaps for this reason, Cal's account of his own middle age in the present day seems dim and perfunctory, a mere episode before we return to the moment when Calliope, now Cal, presents her mother with her new identity.

Their wonderful brief exchange expands a singular genetic event into an inescapable human experience, one that takes place between every child impatient to embrace the future dictated by one's nature, and every parent who shrinks from the inevitable hardships that child must undergo.
From The Critics
Without a doubt, this audio edition of Eugenides's long-awaited second novel (after The Virgin Suicides) represents an acme of the audiobook genre: the whole equals much more than the sum of its parts. This is simultaneously the tale of a gene passed down through three generations and the story of Calliope Stephanides, the recipient of that gene. Never quite feeling at home in her body, Callie discovered at the age of 14 that she is, in fact, genetically, if not completely anatomically, a boy. From this point on she becomes Cal, and it is Cal, the 41-year-old man, who narrates the story, dipping all the way back in history to the time of his grandparents' incestuous relationship in war-torn Turkey. Tabori's performance of the text is phenomenal. His somewhat high-register, wavering voice, reminiscent of a young Burgess Meredith, is completely convincing as both the young female Callie and the older male Cal. Not only are his interpretations of the characters astonishingly credible, but his internalization of the narrative is nothing short of amazing. Listeners will feel this exhilarating story is being told personally to them for the very first time. Additionally, the intro music at the beginning of each of the 28 sides is different, with each snippet offering a different style of music, reflecting the current timeline and mood of the story. This adds a subtle but wonderful effect. Simultaneous release with the FSG hardcover (Forecasts, July 1). (Sept.)

Product Details

  • ISBN-13: 9780312427733
  • Publisher: Picador
  • Publication date: 6/5/2007
  • Edition description: Reprint
  • Pages: 544
  • Sales rank: 1,467
  • Series: Oprah's Book Club Series
  • Product dimensions: 5.75 (w) x 8.03 (h) x 1.03 (d)

Meet the Author

Jeffrey Eugenides
Jeffrey Eugenides
Concerned with themes that are simultaneously disturbing and intriguing, Jeffrey Eugenides caught the attention of readers with 1993's The Virgin Suicides. He garnered the Pulitzer Prize for 2002's Middlesex -- cementing his reputation as an edgy author with an ability to imbue scenes of ordinariness and nostalgia with an otherworldly importance.

Biography

Jeffrey Eugenides grew up in Grosse Pointe, Michigan, and attended Brown and Stanford Universities. His novel Middlesex was the winner of the Pulitzer Prize and the Ambassador Book Award, and was a finalist for the National Book Critics Circle Award, the IMPAC Dublin Literary Award, France's Prix Medicis, and the Lambda Literary Award. It was also selected for Oprah's Book Club. Eugenides' first novel, The Virgin Suicides, was adapted into a critically-acclaimed film by Sofia Coppola. He is on the faculty of Princeton University, and lives in Princeton, New Jersey.

Good To Know

Jonathan Safran Foer's novel Everything Is Illuminated grew out of his creative writing thesis project, which was advised by Joyce Carol Oates and Eugenides.

Eugenides considered becoming a priest or a monk, and worked alongside Mother Teresa in India for one week during a traveling break from college. He explained to the Calgary Herald, "I was so unformed in my personality and was trying on different personas; being a saint was a bit tight on my shoulders, though. At 20 you can really change your philosophy of the world by reading a single book, or by one chance meeting."

Eugenides, who got the idea for The Virgin Suicides when his nephew's babysitter revealed to him that she and all her siblings had attempted suicide, wrote the book while working as an administrator at the Academy of American Poets in New York. The first chapter was published in the Paris Review in 1991, getting him an agent and, two days later, a book deal.

In a 1995 piece for the New York Times entitled, "Hand Me My Air Guitar: I'm Still a Jethro Tull Fan," Eugenides paid homage to one of his favorite bands. "Being a Tull fan is a chronic condition," he wrote. "As with malaria, a swampiness reclaims the veins without warning."

    1. Hometown:
      Princeton, NJ
    1. Date of Birth:
      March 8, 1960
    2. Place of Birth:
      Detroit, Michigan
    1. Education:
      B.A. in English, Brown University, 1983; M.A. in creative writing/English, Stanford University, 1986

Read an Excerpt

Book One

The Silver Spoon

I was born twice: first, as a baby girl, on a remarkably smogless Detroit day in January of 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of 1974. Specialized readers may have come across me in Dr. Peter Lucès study, "Gender Identity in 5-Alpha-Reductase Pseudohermaphrodites," published in the Journal of Pediatric Endocrinology in 1975. Or maybe you've seen my photograph in chapter sixteen of the now sadly outdated Genetics and Heredity. That's me on page 578, standing naked beside a height chart with a black box covering my eyes.

My birth certificate lists my name as Calliope Helen Stephanides. My most recent driver's license (from the Federal Republic of Germany) records my first name simply as Cal. I'm a former field hockey goalie, long-standing member of the Save-the-Manatee Foundation, rare attendant at the Greek Orthodox mass, and, for most of my adult life, an employee of the U.S. State Department. Like Tiresias, I was first one thing and then the other. I've been ridiculed classmates, guinea-pigged doctors, palpated specialists, and researched the March of Dimes. A redheaded girl from Grosse Pointe fell in love with me, not knowing what I was. (Her brother liked me, too.) An army tank led me into urban baffle once; a swimming pool turned me into myth; I've left my body in order to occupy others-and all this happened before I turned sixteen.

But now, at the age of forty-one, I feel another birth coming on. After decades of neglect, I find myself thinking about departed great-aunts and -uncles, long-lost grandfathers, unknown fifth cousins, or, in the case of an inbred family like mine, all those things in one. And so before it's too late I want to get it down for good: this roller-coaster ride of a single gene through time. Sing now, O Muse, of the recessive mutation on my fifth chromosome! Sing how it bloomed two and a half centuries ago on the slopes of Mount Olympus, while the goats bleated and the olives dropped. Sing how it passed down through nine generations, gathering invisibly within the polluted pool of the Stephanides family. And sing how Providence, in the guise of a massacre, sent the gene flying again; how it blew like a seed across the sea to America, where it drifted through our industrial rains until it fell to earth in the fertile soil of my mother's own mid-western womb.

Sorry if I get a little Homeric at times. That's genetic, too.

Three months before I was born, in the aftermath of one of our elaborate Sunday dinners, my grandmother Desdemona Stephanides ordered my brother to get her silkworm box. Chapter Eleven had been heading toward the kitchen for a second helping of rice pudding when she blocked his way. At fifty-seven, with her short, squat figure and intimidating hairnet, my grandmother was perfectly designed for blocking peoplès paths. Behind her in the kitchen, the day's large female contingent had congregated, laughing and whispering. Intrigued, Chapter Eleven leaned sideways to see what was going on, but Desdemona reached out and firmly, hegemonically even, pinched his cheek. Having regained his attention, she sketched a rectangle in the air and pointed at the ceiling. Then, through her ill-fitting dentures, she said, "Go for yia yia, dolly mou."

Chapter Eleven knew what to do. He ran across the hall into the living room. On all fours he scrambled up the formal staircase to the second floor. He raced past the bedrooms along the upstairs corridor. At the far end was a nearly invisible door, wallpapered over like the entrance to a secret passageway. Chapter Eleven located the tiny doorknob level with his head and, using all his strength, pulled it open. Another set of stairs lay behind it. For a long moment my brother stared hesitantly into the darkness above, before climbing, very slowly now, up to the attic where my grandparents lived.

In sneakers he passed beneath the twelve, damply newspapered birdcages suspended from the rafters. With a brave face he immersed himself in the sour odor of the parakeets, and in my grandparents' own particular aroma, a mixture of mothballs and hashish. He negotiated his way past my grandfather's book-piled desk and his collection of rebetika records. Finally, bumping into the leather ottoman and the circular coffee table made of brass, he found my grandparents' bed and, under it, the silkworm box.

Carved from olivewood, a little bigger than a shoe box, it had a tin lid perforated tiny airholes and inset with the icon of an unrecognizable saint. The saint's face had been rubbed off, but the fingers of his right hand were raised to bless a short, purple, terrifically self-confident-looking mulberry tree. After gazing awhile at this vivid botanical presence, Chapter Eleven pulled the box from under the bed and opened it. Inside were the two wedding crowns made from rope and, coiled like snakes, the two long braids of hair, each tied with a crumbling black ribbon. He poked one of the braids with his index finger. Just then a parakeet squawked, making my brother jump, and he closed the box, tucked it under his arm, and carried it downstairs to Desdemona.

She was still waiting in the doorway. Taking the silkworm box out of his hands, she turned back into the kitchen. At this point Chapter Eleven was granted a view of the room, where all the women now fell silent. They moved aside to let Desdemona pass and there, in the middle of the linoleum, was my mother. Tessie Stephanides was leaning back in a kitchen chair, pinned beneath the immense, drum-tight globe of her pregnant belly. She had a happy, helpless expression on her face, which was flushed and hot. Desdemona set the silkworm box on the kitchen table and opened the lid. She reached under the wedding crowns and the hair braids to come up with something Chapter Eleven hadn't seen: a silver spoon. She tied a piece of string to the spoon's handle. Then, stooping forward, she dangled the spoon over my mother's swollen belly. And, extension, over me.

Up until now Desdemona had had a perfect record: twenty-three correct guesses. Shèd known that Tessie was going to be Tessie. Shèd predicted the sex of my brother and my four classically named cousins, Socrates, Plato, Aristotle, and Cleopatra. The only children whose genders she hadn't divined were her own, because it was bad luck for a mother to plumb the mysteries of her own womb. Fearlessly, however, she plumbed my mother's. After some initial hesitation, the spoon swung north to south, which meant that I was going to be a boy.

Splay-legged in the chair, my mother tried to smile. She didn't want a boy. She had one already. In fact, she was so certain I was going to be a girl that shèd picked out only one name for me: Calliope. But when my grandmother shouted in Greek, "A boy!" the cry went around the room, and out into the hall, and across the hall into the living room where the men were arguing politics. And my mother, hearing it repeated so many times, began to believe it might be true.

As soon as the cry reached my father, however, he marched into the kitchen to tell his mother that, this time at least, her spoon was wrong. "And how you know so much?" Desdemona asked him. To which he replied what many Americans of his generation would have:

"It's science, Ma."

Ever since they had decided to have another child-the diner was doing well and Chapter Eleven was long out of diapers-Milton and Tessie had been in agreement that they wanted a daughter. Chapter Eleven had just turned five years old. Hèd recently found a dead bird in the yard, bringing it into the house to show his mother. He liked shooting things, hammering things, smashing things, and wrestling with his father. In such a masculine household, Tessie had begun to feel like the odd woman out and saw herself in ten years' time imprisoned in a world of hubcaps and hernias. My mother pictured a daughter as a counterinsurgent: a fellow lover of lapdogs, a seconder of proposals to attend the Ice Capades. In the spring of 1959, when discussions of my fertilization got under way, my mother couldn't envision that women would soon be burning their brassieres the thousand. Hers were padded, stiff, fire-retardant. As much as Tessie loved her son, she knew there were certain things shèd be able to share only with a daughter.

On his morning drive to work, my father had been seeing visions of a irresistibly sweet, dark-eyed little girl. She sat on the seat beside him-mostly during stoplights-directing questions at his patient, all-knowing ear. "What do you call that thing, Daddy?" "That? That's the Cadillac seal." "What's the Cadillac seal?" "Well, a long time ago, there was a French explorer named Cadillac, and he was the one who discovered Detroit. And that seal was his family seal, from France." "What's France?" "France is a country in Europe." "What's Europe?" "It's a continent, which is like a great big piece of land, way, way bigger than a country. But Cadillacs don't come from Europe anymore, kukla. They come from right here in the good old U.S.A." The light turned green and he drove on. But my prototype lingered. She was there at the next light and the next. So pleasant was her company that my father, a man loaded with initiative, decided to see what he could do to turn his vision into reality.

Thus: for some time now, in the living room where the men discussed politics, they had also been discussing the velocity of sperm. Peter Tatakis, "Uncle Pete," as we called him, was a leading member of the debating society that formed every week on our black love seats. A lifelong bachelor, he had no family in America and so had become attached to ours. Every Sunday he arrived in his wine-dark Buick, a tall, prune-faced, sad-seeming man with an incongruously vital head of wavy hair. He was not interested in children. A proponent of the Great Books series-which he had read twice-Uncle Pete was engaged with serious thought and Italian opera. He had a passion, in history, for Edward Gibbon, and, in literature, for the journals of Madame de Staël. He liked to quote that witty lady's opinion on the German language, which held that German wasn't good for conversation because you had to wait to the end of the sentence for the verb, and so couldn't interrupt. Uncle Pete had wanted to become a doctor, but the "catastrophe" had ended that dream. In the United States, hèd put himself through two years of chiropractic school, and now ran a small office in Birmingham with a human skeleton he was still paying for in installments. In those days, chiropractors had a somewhat dubious reputation. People didn't come to Uncle Pete to free up their kundalini. He cracked necks, straightened spines, and made custom arch supports out of foam rubber. Still, he was the closest thing to a doctor we had in the house on those Sunday afternoons. As a young man hèd had half his stomach surgically removed, and now after dinner always drank a Pepsi-Cola to help digest his meal. The soft drink had been named for the digestive enzyme pepsin, he sagely told us, and so was suited to the task.

It was this kind of knowledge that led my father to trust what Uncle Pete said when it came to the reproductive timetable. His head on a throw pillow, his shoes off, Madama Butterfly softly playing on my parents' stereo, Uncle Pete explained that, under the microscope, sperm carrying male chromosomes had been observed to swim faster than those carrying female chromosomes. This assertion generated immediate merriment among the restaurant owners and fur finishers assembled in our living room. My father, however, adopted the pose of his favorite piece of sculpture, The Thinker, a miniature of which sat across the room on the telephone table. Though the topic had been brought up in the open-forum atmosphere of those postprandial Sundays, it was clear that, notwithstanding the impersonal tone of the discussion, the sperm they were talking about was my father's. Uncle Pete made it clear: to have a girl ba, a couple should "have sexual congress twenty-four hours prior to ovulation." That way, the swift male sperm would rush in and die off. The female sperm, sluggish but more reliable, would arrive just as the egg dropped.

My father had trouble persuading my mother to go along with the scheme. Tessie Zizmo had been a virgin when she married Milton Stephanides at the age of twenty-two. Their engagement, which coincided with the Second World War, had been a chaste affair. My mother was proud of the way shèd managed to simultaneously kindle and snuff my father's flame, keeping him at a low burn for the duration of a global cataclysm. This hadn't been all that difficult, however, since she was in Detroit and Milton was in Annapolis at the U.S. Naval Academy. For more than a year Tessie lit candles at the Greek church for her fiancé, while Milton gazed at her photographs pinned over his bunk. He liked to pose Tessie in the manner of the movie magazines, standing sideways, one high heel raised on a step, an expanse of black stocking visible. My mother looks surprisingly pliable in those old snapshots, as though she liked nothing better than to have her man in uniform arrange her against the porches and lampposts of their humble neighborhood.

She didn't surrender until after Japan had. Then, from their wedding night onward (according to what my brother told my covered ears), my parents made love regularly and enjoyably. When it came to having children, however, my mother had her own ideas. It was her belief that an embryo could sense the amount of love with which it had been created. For this reason, my father's suggestion didn't sit well with her.

"What do you think this is, Milt, the Olympics?"

"We were just speaking theoretically," said my father.

"What does Uncle Pete know about having babies?"

"He read this particular article in Scientific American," Milton said. And to bolster his case: "Hès a subscriber."

"Listen, if my back went out, I'd go to Uncle Pete. If I had flat feet like you do, I'd go. But that's it."

"This has all been verified. Under the microscope. The male sperms are faster."

"I bet they're stupider, too."

"Go on. Malign the male sperms all you want. Feel free. We don't want a male sperm. What we want is a good old, slow, reliable female sperm."

"Even if it's true, it's still ridiculous. I can't just do it like clockwork, Milt."

"I&tgrave;ll be harder on me than you."

"I don't want to hear it."

"I thought you wanted a daughter."

"I do."

"Well," said my father, "this is how we can get one."

Tessie laughed the suggestion off. But behind her sarcasm was a serious moral reservation. To tamper with something as mysterious and miraculous as the birth of a child was an act of hubris. In the first place, Tessie didn't believe you could do it. Even if you could, she didn't believe you should try.

Of course, a narrator in my position (prefetal at the time) can't be entirely sure about any of this. I can only explain the scientific mania that overtook my father during that spring of '59 as a symptom of the belief in progress that was infecting everyone back then. Remember, Sputnik had been launched only two years earlier. Polio, which had kept my parents quarantined indoors during the summers of their childhood, had been conquered the Salk vaccine. People had no idea that viruses were cleverer than human beings, and thought they'd soon be a thing of the past. In that optimistic, postwar America, which I caught the tail end of, everybody was the master of his own destiny, so it only followed that my father would try to be the master of his.

ard A few days after he had broached his plan to Tessie, Milton came home one evening with a present. It was a jewelry box tied with a ribbon.

"What's this for?" Tessie asked suspiciously.

"What do you mean, what is it for?"

"It's not my birthday. It's not our anniversary. So why are you giving me a present?"

"Do I have to have a reason to give you a present? Go on. Open it."

Tessie crumpled up one corner of her mouth, unconvinced. But it was difficult to hold a jewelry box in your hand without opening it. So finally she slipped off the ribbon and snapped the box open.

Copyright © 2002 by Jeffrey Eugenides. All rights reserved.

Table of Contents

Book 1
The Silver Spoon 13
Matchmaking 41
An Immodest Proposal 80
The Silk Road 121
Book 2
Henry Ford's English-Language Melting Pot 149
Minotaurs 198
Marriage on Ice 235
Tricknology 276
Clarinet Serenade 304
News of the World 335
Ex Ovo Omnia 362
Book 3
Home Movies 391
Opa! 423
Middlesex 459
The Mediterranean Diet 494
The Wolverette 531
Waxing Lyrical 562
The Obscure Object 582
Tiresias in Love 620
Flesh and Blood 655
The Gun on the Wall 684
Book 4
The Oracular Vulva 723
Looking Myself Up in Webster's 764
Go West, Young Man 792
Gender Dysphoria in San Francisco 826
Hermaphroditus 859
Air-Ride 893
The Last Stop 922

Reading Group Guide

A dazzling triumph from the best-selling author of The Virgin Suicides, Middlesex is the astonishing tale of a gene that passes down through three generations of a Greek American family and flowers in the body of Calliope Stephanides.

About this Guide
The questions and discussion topics that follow are intended to augment your group's reading of Jeffrey Eugenides' novel Middlesex, a fable of immigration, the intricacies of gender, and the deep, untidy promptings of desire. We hope they will enhance your discussion of the story of one person's unusual life and a family's dark secret.

Introduction
"I was born twice: first, as a baby girl, on a remarkably smogless Detroit day in January of 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of 1974." So begins Jeffrey Eugenides' second novel, Middlesex, the story of Calliope Stephanides, who discovers at the age of fourteen that she is really a he. Cal traces the story of his transformation and the genetic condition that caused it back to his paternal grandparents, who happen also to be brother and sister, and the Greek village of Bithynios in Asia Minor.

In 1922, Desdemona Stephanides and her brother, Lefty, whose parents were killed in the recent war with the Turks, are living alone in their nearly abandoned village. Pulled together by isolation, sympathy, and, perhaps, fate, Lefty and Desdemona become husband and wife, and a recessive genetic condition begins its journey toward eventual expression in their grandchild Calliope.

Middlesex is a story about what it means to occupy the complex and unnamed middle ground between male and female, Greek and American, past and present. For Cal, caught between these identities, the journey to adulthood is particularly fraught. Jeffrey Eugenides' epic portrayal of Cal's struggle is classical in its structure and scope and contemporary in its content; a tender and honest examination of a battle that is increasingly relevant to us all.

Questions for Discussion
1. Describing his own conception, Cal writes: "The timing of the thing had to be just so in order for me to become the person I am. Delay the act by an hour and you change the gene selection" (p. 11). Is Cal's condition a result of chance or of fate? Which of these forces governs the world as Cal sees it?

2. Middlesex begins just before Cal's birth in 1960, then moves backward in time to 1922. Cal is born at the beginning of Part 3, about halfway through the novel. Why did the author choose to structure the story in this way? How does this movement backward and forward in time reflect the larger themes of the work?

3. When Tessie and Milton decide to try to influence the sex of their baby, Desdemona disapproves. "God decides what baby is," she says. "Not you" (p. 13). What happens when characters in the novel challenge fate?

4. "To be honest, the amusement grounds should be closed at this hour, but, for my own purposes, tonight Electric Park is open all night, and the fog suddenly lifts, all so that my grandfather can look out the window and see a roller coaster streaking down the track. A moment of cheap symbolism only, and then I have to bow to the strict rules of realism, which is to say: they can't see a thing" (pp. 110-11). Occasionally, Cal interrupts his own narrative, calling attention to himself and the artifice inherent in his story. What purpose do these interruptions serve? Is Cal a reliable narrator?

5. "I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever," Cal writes (p. 217). How does Cal narrate the events that take place before his birth? Does his perspective as a narrator change when he is recounting events that take place after he is born?

6. "All I know is this: despite my androgenized brain, there's an innate feminine circularity in the story I have to tell" (p. 20). What does Cal mean by this? Is his manner of telling his story connected to the question of his gender? How?

7. How are Cal's early sexual experiences similar to those of any adolescent? How are they different? Are the differences more significant than the similarities?

8. Why does Cal decide to live as a man rather than as a woman?

9. How does Cal's experience reflect on the "nature vs. nurture" debate about gender identity?

10. Who is Jimmy Zizmo? How does he influence the course of events in the novel?

11. What is Dr. Luce's role in the novel? Would you describe him as a villain?

12. Calliope is the name of the classical Greek muse of eloquence and epic poetry. What elements of Greek mythology figure in Cal's story? Is this novel meant to be a new "myth"?

13. How is Cal's experience living within two genders similar to the immigrant experience of living within two cultures? How is it different?

14. Middlesex is set against the backdrop of several historical events: the war between Greece and Turkey, the rise of the Nation of Islam, World War II, and the Detroit riots. How does history shape the lives of the characters in the novel?

15. What does America represent for Desdemona? For Milton? For Cal? To what extent do you think these characters' different visions of America correspond to their status as first-, second-, and third-generation Greek Americans?

16. What role does race play in the novel? How do the Detroit riots of 1967 affect the Stephanides family and Cal, specifically?

17. Describe Middlesex. Does the house have a symbolic function in the novel?

18. "Everything about Middlesex spoke of forgetting and everything about Desdemona made plain the inescapability of remembering," Cal writes (p. 273). How and when do Desdemona's Old World values conflict with the ethos of America and, specifically, of Middlesex?

19. The final sentence of the novel reads: "I lost track after a while, happy to be home, weeping for my father, and thinking about what was next" (p. 529). What is next for Cal? Does the author give us reason to believe that Cal's relationship with Julie will be successful?

20. "Watching from the cab, Milton came face-to-face with the essence of tragedy, which is something determined before you're born, something you can't escape or do anything about, no matter how hard you try" (p. 426). According to this definition, is Cal's story a tragedy?

Praise for Middlesex
"Beautifully written . . . The most wonderful thing about this book is Eugenides's ability to feel his way into the girl, Callie, and the man, Cal. It's difficult to imagine any serious male writer of earlier eras so effortlessly transcending the stereotypes of gender."
-Publishers Weekly (starred review)

"Brilliant . . . Altogether irresistible . . . Middlesex vibrates with wit." -Kirkus Reviews (starred review)

"Jeffrey Eugenides is a big and big-hearted talent, and Middlesex is a weird, wonderful novel that will sweep you off your feet."
-Jonathan Franzen

Praise for The Virgin Suicides
"The narrator's hypnotic voice succeeds in transporting us to that mythic realm where fate, not common sense or psychology, holds sway. By turns lyrical and portentous, ferocious and elegiac, The Virgin Suicides insinuates itself into our minds as a small but powerful opera in the unexpected form of a novel."
-Michiko Kakutani, The New York Times

"Eugenides is one of those rare writers who can manage sympathy and detachment simultaneously-and work small wonders with words while he's at it. As The Virgin Suicides puts its heroines through hell, its readers, weirdly enough, will be delighted."
-David Gates, Newsweek

About the Author
Jeffrey Eugenides was born in Detroit, Michigan, in 1960, the third son of an American-born father whose Greek parents emigrated from Asia Minor and an American mother of Anglo-Irish descent. In 1988, Mr. Eugenides published his first short story. His first novel, The Virgin Suicides (FSG), was published in 1993. His fiction has appeared in The New Yorker, The Paris Review, The Yale Review, Best American Short Stories, The Gettysburg Review, and Granta. Mr. Eugenides now lives in Berlin, Germany, with his wife and daughter.

Customer Reviews
Average Rating 4.5
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  • Anonymous

    Posted October 29, 2008

    I Also Recommend:

    Sated with controvercy and good writing

    Very interesting read. On the surface, a story about a Greek-American hermaphrodite. Calliope/Cal narrates this tale of birth and rebirth.
    Cal describes the family history and traces the journey of a rare, recessive gene over about 80 years. Cal's grandparents flee from their burning home in a small village in Turkey. Desdemona and Lefty, brother and sister, reinvent themselves during their journey to America and get married. When their son marries his cousin, two recessive genes collide. The result? Calliope, raised as a girl until an emergency room doctor notices something different about her. A visit to a famous specialist in New York sets Calliope on a completely new path and she is reborn as Cal.
    Excellent character development and the intricate details of Cal's convoluted family history will keep readers turning pages. The normal adolescent angst and sexual exploration take on a whole new dimension, yet these issues are handled with grace, sensitivity, and, often, humor.
    I did not expect to like this book, as it was on my "have to read" list, rather than the "want to read" list. Nevertheless, Cal's story grabbed me from the very first lines. I found this to be an excellent read.

    7 out of 7 people found this review helpful.

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  • Posted June 19, 2010

    more from this reviewer

    Gripping, Moving Page-turner

    I loved this novel. I picked up this fat tome with some trepidation, hearing it was inspired by a memoir discovered and promoted by Foucault by and about a hermaphrodite. I pictured some post-modern turgid avant-garde mess--like Delillo's Underworld, which had been on the same recommendation list. Instead I found what was promised in Underworld's blurbs was fulfilled in Middlesex--a Great American Novel--and a page-turner.

    Strangely, in the tale of a hermaphrodite I didn't find anything remotely freakish, but humanely universal, as if by having this protagonist of an ambiguous gender, Eugenides was able to embrace and bridge both (all?) genders. It's an ambitious work, taking in about 80 years from his Greek immigrant grandparents roots in Turkey, to his parents and childhood in Detroit, to his coming of age on the road from New York City to San Francisco and his current life at a diplomatic posting in Germany. It takes in massacres in Turkey, Ellis Island, the development of America's car culture, Prohibition with it's Speakeasies and bootlegging, The Great Depression, World War II, The Nation of Islam, Detroit race riots and Black/White relations, the sexual revolution, politics, religion--there doesn't seem anything missed, and yet nothing that feels rambling or contrived or caricatured.

    The voice is miraculous. Technically it's a first person narrative, but it breaks the bonds of that point of view into an expansive omniscience in telling its story of three generations: Book One dealing with his grandparents in Turkey and their immigration to Detroit; Book Two with the story of his grandparents and parents in Detroit before his birth; Book Three with his childhood and early adolescence; Book Four with his crisis of identity when doctors discover he's not the girl he was raised to be. Even in those two parts of the book during his own lifetime, the narration has that expansive, feel of third person omniscience, but with the intimacy of the first person voice.

    Eugenides makes me feel for his characters. I ached for Callie--and Cal--both. I worried for him. I hoped for him. I was propelled through the 500 pages not wanting to skip one paragraph and ended it sorry it was over and wanting to read this again sometime--and Eugenides other novel.

    4 out of 4 people found this review helpful.

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  • Anonymous

    Posted July 5, 2009

    I Also Recommend:

    A Great Creative Epic

    One of the most stimulating and original books I have read. Truly, a modern-day epic. This is one of my favorite books of all time. Highly recommended.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted May 27, 2009

    boring!!!!!!!!

    I just couldnt get into this book..I tried reading the first 100 pages and couldnt read it I was falling asleep.

    2 out of 10 people found this review helpful.

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  • Anonymous

    Posted February 27, 2008

    I liked it but...

    While reading this book, I realized that what I really was doing was watching a movie. I could actually imagine the scenes playing out on the big screen through Eugenides¿ eccentric writing. The way he wrote Middlesex was appealing he described the setting, the characters, the moods in full detail using various, sometimes hilarious analogies along the way. I am also a big fan of narratives that overlook many generations in one hardcover it is a reminder to all of us that everyone 'our parents, grandparents, so on and so forth' have a story to tell. I enjoyed the plot for what it was worth, since there were times I was engaged enough that I could not put the book down. I was slightly disappointed about the way the book ended, however, because I felt like there was still an unexplained development from his confused youth at 14 to where he was now as a cautious adult male. Overall, maybe I just expected a tad bit more from a book that is inducted into Oprah's book club.

    2 out of 3 people found this review helpful.

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  • Anonymous

    Posted February 21, 2006

    Ho Hum

    There was way too much detail on the past history of her family, and not enough info that delved into her 'prolem'. The ending had an interesting twist, but if you are an impatient reader, this is not for you. Also there were a lot of noticable typo's.

    2 out of 3 people found this review helpful.

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  • Posted June 30, 2011

    Unbelievable, heartwrenching, fascinating

    An absolute must in any library of any age, sex, or profession

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted March 30, 2010

    AMAZING!

    I am reading oprahs book club books and I was looking for something else but ended up with this. It didn't really appeal to me but I absolutely loved this book. I couldn't put it down. Everything about it was amazing and I was crying by the end. I recommend it to anyone.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 2, 2010

    An excellent read. Written well enough that it will be a tough act to follow. There are not too many modern day fiction novelist with this type of talent for word usage and sentence structure. It tickles the senses.

    Much better than most books on the Oprah Book Club Series so don't be discouraged if you are not a fan of the "list". This one is a don't miss.

    1 out of 1 people found this review helpful.

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  • Posted June 6, 2009

    Terrific read. Writing is superlative. Topic very, very thought provoking.

    A real treasure in so many ways.

    1 out of 2 people found this review helpful.

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  • Posted May 25, 2009

    Middlesex Book Review

    Middlesex contains a large array of imformation including the early years of Ford Motor Company in Detroit, the burning of Smyrna by Turkish troops in 1922, the nation and culture of Islam, as well the main topic -- hermaphroditism. Cal, the main character, on the first page tells that he was born and raised as a girl but was revealed as a teenager to be a boy, in genetic and chromosomal terms. His complications are due to a genetic mutation kept alive by incestuous marriages in a tiny village high on Mt. Olympus. Although, Cal does not believe that the scientific version of genetics and the ancient Greek notion of fate can explain his life or anyone else's for that matter. A common rags-to-riches theme is conveyed as the story tells the life of Cal's grandparents, then parents, then his own. America is shown as a place of opportunity and fortune and the title, Middlesex is accounted for the name of the street their mansion is on in Grosse Point, Michigan and it is also for Cal's own sexual conflicts. The book is eventful, unpredictable, eager to entertain, but missing the main character throughout the first 215 pages. And this happens when Cal's moment of transsexual truth comes when a hippie doctor decides to remove his testicles and treat him with hormones, give him surgically the nature that nurture has already dictated and make an honest woman of him. Soon after the procedure, he sets out for California on a journey that echoes closely his grandparents' flight from Smyrna. Intertwined throughout the novel, we get a taste of dry humor; for instance, Cal calls his brother "Chapter Eleven" and the "peep show" that occurs in San Francisco is wickedly humorous. The book is a symbol for anyone struggling with their sexuality and was well thought out and planned since it took Eugenides 10 years to write. The novel leads us to the future where particularities are what make us human and that takes precedence over the limitations of female and male as gender.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 28, 2009

    Enjoyed It.

    The book started off with his grandparent's story, his parent's story, and then her/his own. I thought it was very clever to identify a person by not what she/he is or has done but what has happened in their grandparent's, parent's, etc lives. The story is very touching - a little distrubing at times but a very good story if you are open-minded enough to enjoy a book like this. It was a quick and tantalizing read. And I recommend it to people who have an open-mind about sexuality.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted September 12, 2008

    Wonderful and Totally Original

    I resisted reading this book for a long time - frankly, I was turned off by the whole hermaphrodite subject. Things like that don't usually interest me. I guess I was visualizing Jerry Springer or Dr Phil or something. However, that is the key word I think - usually. There is nothing usual about this story - I could not put it down. I loved all the Greek imagery and the stories of the other family characters - I found myself engrossed and involved with all of them! You'd like to be angry at Lefty and Desdemona, but you can't be if you can visualize, even the littlest bit, what it might have been like for them. Anyway, I loved this story - could go on forever. I have to say that I disagree with a past reviewer in that I felt that the last chapter regarding Milton, and his death, was very necessary - critical in fact. And, I think we can rest assured that Cal's encounter went very well! For anyone else that is holding off on reading this, I say go for it!

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted January 29, 2012

    Defintely read this book!

    So many good revelations and insight into the hermaphrodictic mind

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  • Anonymous

    Posted January 24, 2012

    Awesome book

    Hands down best book I have read in a while. The writing was beautiful and transporting. Subject matter may be a little disturbing to some but I thought it was interesting and i wasn't bored. Would look for more from this author.

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  • Anonymous

    Posted January 19, 2012

    Highly recommended.

    I didn't really know much about this book when I bought it except from what is in the advertising blurb. It is nteresting, informative without being preachy, and a great story to boot!

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  • Anonymous

    Posted January 3, 2012

    Thought provoking.

    Very thought provoking and well written. Just a smidge long in the middle, but would definitely recommend it as one of the best books i've read in a long time!

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  • Anonymous

    Posted December 25, 2011

    Three quarters good

    Good for the first three quarters and then the end proved the exact reason why i wouldnt have read it

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  • Anonymous

    Posted December 18, 2011

    Excellent. Stunning. What an amazing book.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 6, 2011

    Good Read

    Enjoyed the book--very well written!

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