58 pages • 1 hour read
Lefty and Desdemona arrive in Detroit, where their cousin Sourmelina Zizmo and her husband, Jimmy, will host them. They have only one more hurdle: to convince Sourmelina not to reveal their secret, that they’re brother and sister. They entrust her with the secret since she harbors a secret of her own: She is a lesbian. This is why she was sent to the US to marry Jimmy Zizmo; he’s unaware of the rumors that swirled around Sourmelina back home.
Desdemona is suspicious of Jimmy; he appears to be Arab. Her experiences in Turkey left her with prejudice. Jimmy dabbles in a wide variety of professions and engages in numerous deals, not all of them strictly legal. He has very clear ideas about the segregation of the sexes—the men relax in the den while the women work in the kitchen—and the purpose of marriage: “Marriage is for housekeeping and children,” he says (91). Despite his pronouncement and Sourmelina’s youth, their marriage has yet to produce any children after five years.
Jimmy procures a job for Lefty at the Ford Motor Company. While he works hard and improves his English, he still comes under suspicion as an immigrant. Representatives for the company come to the house to question Lefty and his family. They press him to find his own house and to improve his hygiene.
Meanwhile, Desdemona stays home and cooks food that reminds her of home. Just as Lefty is graduating from the Ford English School, Desdemona and Sourmelina begin to notice that their senses of smell have become more acute: They’re both pregnant. Although Lefty tries to meet the demands set by the company, he’s dismissed. Jimmy’s police record has been uncovered.
The narrator interrupts his account of his grandparents’ history to note that he can never have children. Most “hermaphrodites”—as he self-identifies—are unable to conceive. He then briefly touches on the Berlin timeline: He meets the bicyclist he glimpsed on the train. Her name is Julie Kikuchi; she is another American transplant to Berlin. He asks her out on a date, but his expectations are low.
Returning to his grandparents’ story, the narrator notes that the pregnancies began on the same evening, after the two couples had attended a play, The Minotaur. The play’s erotic undertones led them to engage in intimate relations afterward. During the pregnancies, the women struggle through side effects and the men worry about money.
Jimmy decides to help Lefty. He owns a minor rum-running enterprise (during the years of Prohibition in the US) and takes Lefty into the business. They go out during the night several times a week to intercept boats from Canada carrying liquor and then distribute it to speakeasies. It’s dangerous but lucrative work.
Meanwhile, Desdemona and Sourmelina endure their pregnancies. Dr. Philobosian pays a visit to the house, remarking on his good timing, and enjoys a dinner with the family. When he starts telling folktales about strange pregnancies, like the mythological one that engendered the minotaur, Desdemona becomes agitated. He reassures her that nothing like that actually happens and that most birth defects are caused by intermarriage. This frightens Desdemona even more, but she keeps her secret quiet.
The synchronized pregnancies diverge when Sourmelina delivers her baby girl early; the baby must stay in an incubator at the hospital for a time. When Desdemona finally enters labor, her husband and Jimmy are out on the ice, presumably picking up their wares. However, Jimmy has become irrationally jealous of Sourmelina, convinced that she has been having affairs—possibly with Lefty. Lefty may even be the father of Jimmy’s premature daughter, he convinces himself. He begins to drive the car as fast as he can across the ice. Lefty hurls himself out of the car just before it hits a crack in the surface and sinks underwater.
Meanwhile, Desdemona gives birth to a healthy baby boy. He’ll be called Milton, though his given name is Miltiades. Sourmelina’s daughter is named Theodora, though she too acquires a nickname later in life.
The family holds a funeral for Jimmy, though a body is never found. Sourmelina grieves for him much more deeply than she ever loved him. Lefty and Desdemona grow apart after the birth of their son: Desdemona is convinced that their union is sinful, so she refuses to have another child. Their intimate relations all but cease. Lefty, disappointed and hurt, lashes out by alternately dominating her and retreating from her.
He opens a speakeasy, the Zebra Room, which keeps him away from the house most nights. During the days, he translates classic Greek works into English. Sourmelina isn’t entirely comfortable as a mother, so Desdemona takes the lead in raising Theodora along with Milton, almost as if they’re brother and sister. Ultimately, Desdemona breaks her vow and conceives another child. Milton now has a younger sister, Zoe. Sourmelina and Theodora move out, though they live close by.
The stock-market crash is followed by the Great Depression, and the Zebra Room loses its customers. Lefty insists that Desdemona also work. An ad for “Silk worker” in the paper takes her to the predominantly Black part of Detroit (138): The newly influential Nation of Islam, under the direction of Minister Fard, needs someone skilled in raising silkworms. The people will provide for themselves, he preaches, rather than rely on white-owned industry.
Desdemona helps the sisters at Temple No. 1 “convert the outhouse into a cocoonery” (151). While working at the temple, Desdemona accidentally overhears the sermons of Minister Fard, also known as the Prophet. White people aren’t allowed into the congregation, but Desdemona hears his voice through the ducts while working in the Silk Room. He preaches an unorthodox version of history that suggests that white people are the imperfect and mutated progeny of Black people. White people have learned to dominate Black people by using what he calls “tricknology.” Listening to his sermons only compounds the guilt that Desdemona feels over her unnatural marriage to Lefty. She’s convinced that some tragedy awaits them and refuses to have sex with him altogether.
Lefty adapts to the lean times and makes some money on the side by selling partially nude photographs of young women. He finds the girls, while a partner takes the pictures. He begins to save money.
Under the influence of the Prophet’s sermons, Desdemona visits Dr. Philobosian for a consult. Shortly thereafter, Minister Fard is arrested; someone has committed murder under the auspices of Fard’s ideas. Some have also suggested that Fard is committing fraud, taking money from congregants for his personal use. Before the police take him away, Fard encounters Desdemona. When she gets a clear look at him, she’s astonished: The Prophet is Jimmy Zizmo. He reveals that he knows all the family secrets, including the truth about Sourmelina’s sexual orientation and Desdemona’s marriage. He disappears and is “never seen again in Detroit” (165). Desdemona decides to undergo a surgical procedure to avoid additional pregnancies.
In the Berlin timeline, Cal goes on a date with Julie Kikuchi. The two seem very compatible, and the narrator confesses that he likes her. He wonders how to tell her about himself.
The family story recommences in 1944 Detroit: Theodora, now nicknamed Tessie, is being wooed by Milton, who plays the clarinet for her at his window overlooking her room next door. Prohibition has ended, and the Zebra Room becomes a legitimate bar and grill, patronized mostly by the local auto workers. World War II continues, though it’s nearly at an end, but Milton hasn’t been accepted by the Army. Desdemona notices the growing attraction between her son and Sourmelina’s daughter with alarm. She decides to intervene.
Meanwhile, the courtship unfolds. First, Milton and Tessie tease each other like cousins. Then they notice each other’s attractive qualities—particularly Tessie’s physical beauty. Milton begins playing his clarinet for her more seductively, pressing the instrument against various places on her body, and she responds.
However, Desdemona has other ideas. She decides to play matchmaker and invites Mike Antoniou over to dinner. Mike is in seminary, studying to become an Orthodox priest. Tessie begins to date him. He’s a stable young man and in many respects very different from Milton. When he proposes, she accepts. Milton, angry and hurt, enlists in the Navy—even though he can’t swim.
In the Berlin timeline, Cal calls Julie again, and she invites him to her studio. She takes pictures of factories, which resonates with him, having grown up in Detroit. Julie mentions that she at first thought Cal was gay. He responds by kissing her.
The novel returns to the Detroit timeline. Milton’s stint in the Navy is marked by fear and distress. He knows he has made a mistake. The war hasn’t at all erased the memory of his ardor for Tessie. Tessie, in the interim, spends much of her time at the movies while Mike prepares for church duties. She takes in the newsreels that introduce the movies with great interest, “looking for Milton’s face” (188). When she finally believes she catches a glimpse of him in one of the newsreels, she resolves to jilt Father Mike and wait for Milton.
Milton writes home in stilted Greek, while Desdemona prays for his safety. She promises to send Milton back to Bithynios to restore the church if God will protect him. Milton receives orders that he’s to be the signalman on their next mission; the signalman sits at the front of the invading boat, holding a lantern, and is almost always shot within seconds of a launch. Milton writes to his family that this letter will almost surely be his last. Desdemona, in despair, gives Tessie her blessing to marry Milton if he survives.
However, Milton never serves as the signalman: A letter comes from Washington. He has passed the admissions test for the Naval Academy. His scores are so high that they want him back immediately. Once he’s home, Desdemona tells him he must repair the church in Bithynios, and Tessie tells him of her decision. They marry in 1946, and Milton later graduates from the academy and serves in the Korean War. At their wedding, Father Mike asks Milton’s sister, Zoe, to dance.
The narrator continues to tell his parents’ story, a sentient creature biding his time in Tessie’s womb behind his older brother, Chapter Eleven. Milton, after his time in the Navy, wants to return home and pursue a long-held dream of opening a restaurant. The narrator hints that his chain, Hercules Hot Dogs, will eventually become a lucrative venture, but he starts at the old Zebra Room, turning it into a diner. As Milton takes over, Lefty has little to do with the daily operations, but he’s still a vital man of 54. He remembers his proclivity for gambling, and by the time Desdemona discovers what he has been up to, Lefty has lost all of their money. They’re forced to move in with Milton and Tessie.
The years roll by, and Chapter Eleven is born in 1954. In the spring of 1959, the narrator is conceived. Tessie speaks to her unborn baby girl.
The Ford Motor Company and its factory, along with the city of Detroit, symbolize the American experience for immigrants like Lefty Stephanides and his wife. Before arriving even in the US, Desdemona is forced to “cut off [her] immigrant braids” (82) in a figurative show of assimilation. From her perspective, she’s shorn of her strength and robbed of her identity; the original trauma of the immigrant experience stays with her. Lefty, in contrast, embraces his new homeland, noting similarities where Desdemona only sees strangeness: “Lefty, who’d been observing all the ways Greece had been handed down to America, arrived now at where the transmission stopped. In other words: the future. He stepped off to meet it” (83). While Desdemona remains mired in the past, in the traditions of the village, Lefty accepts the challenges of the future.
The differences between the two become more pronounced as Lefty and Desdemona experience their new life in different ways. For example, while Desdemona cooks regularly, “she refused to do […] the shopping. American stores confused her. She found the produce depressing” (98). She feels displaced in American grocery stores and misses the vibrancy of village produce. She remarks that the apples sold at the local Kroger would only be fit for the livestock at home. In contrast, Lefty learns to navigate his new home and takes to the language with aplomb: “Once he had swallowed a good portion of the English vocabulary, he began to taste the familiar ingredients, the Greek seasoning in the roots, prefixes, and suffixes” (99). The narrator employs the food metaphor with irony: Desdemona disdains the foodstuffs at hand in the US, while Lefty happily consumes the Greek-seasoned language of the land. Later, the gulf between them widens, with the birth of their children and the intensity of Desdemona’s guilt.
Nevertheless, even Lefty can’t escape the simple fact of prejudice against immigrants, alluding to the theme of Middlesex Boulevard: The Liminality of Experience. No matter how quickly he learns English or how diligently he works at the Ford Motor Company, his origins bring him under suspicion. Representatives of the company invade his home and cast aspersions on his character: “Management has foreseen […] that five dollars a day in the hands of some men might work a tremendous handicap along the paths of rectitude and right living and might make of them a menace to society in general” (100). Lefty comes under the auspices of ”some men” because he displays the differences that haunt the immigrant. He lives in a multi-family house, something only foreigners do, and attends to his hygiene in strange ways, using baking soda rather than toothpaste to brush his teeth. Even the lunches that Desdemona packs for him arouse suspicion about his moral character. Feta cheese and olives indicate his foreign sympathies, and food becomes another item in the list indicting him: “Item three. Too much garlic in food” (102). Eventually, Lefty is fired, not for his own faults, allegedly, but because of Jimmy Zizmo’s police record.
Zizmo is as much a chameleon as a character. As the narrator acknowledges, “Jimmy Zizmo was so many things I don’t know where to begin. Amateur herbalist; antisuffragist; big-game hunter; ex-con; drug pusher; teetotaler—take your pick” (88). He later morphs into Minister Fard, or the Prophet, taking advantage of the repression of Black people in the US for profit. While Zizmo is essentially a con man who abandons his family, he also represents the trauma of the immigrant experience: “Just like ice, lives crack, too. Personalities. Identities. Jimmy Zizmo […] has already changed past understanding” (125). When he drives the car out onto the thin ice, his life is already precarious. The narrator suggests that the birth of a daughter—by the standards of the old country, a burden—might have pushed him beyond his limits.
In addition, these chapters continue to highlight the theme of The Burden of Inheritance: Family History and Personal Identity. The problem of inheritance and the burden of family history is familiar to all the characters in the story, particularly the narrator. The fact that his father, Milton, is conceived after his parents attend “a play about a hybrid monster” foreshadows the fate that befalls him (109). As Cal goes, so does the family: “I can’t have children,” he tells his audience (106), thus signaling the end of the Stephanides line and echoing Desdemona’s decision to undergo surgery: “[T]here were no more children” (165). Instead of the biblical catalog of who begat whom, the narrator relays a story of decline. However, as the scene over the dinner table with Father Mike reveals, stories themselves are a way in which to resuscitate the past, to anticipate the future: “That’s how we understand who we are, where we come from. Stories are everything” (179), Mike tells Milton. That’s exactly what Cal, the narrator, also realizes: This is where hope is found, in stories, an idea that introduces the theme of The Importance of Storytelling: Revisiting Homer.
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