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Because the story is so far from my own experience, I had to use a lot of details from my own life to ground it in reality, to make it believable for me and then hopefully for the reader, as well.
So I would use my own physical appearance. And all this made it real for me because it was a tall order to write such a story. Eugenides blended fact and fiction in his book.
Although his paternal grandparents were not siblings like the Stephanides, they were silk farmers like their fictional counterparts. Not all such material was excised, Eugenides said: Several reviewers considered Middlesex to be overly verbose.
The Economist described the novel as "ponderous" and said that the main story that of Cal does not "get off the ground until halfway through" the book.
An example noted by Thea Hillman in her review is an incident in which Cal says, "I sat in my seat, in a state of voluptuous agitation, of agitated voluptuousness, until my stop.
Then I staggered out. According to Soar, Eugenides did "both background and foreground in all the necessary detail", seamlessly shifting from past to present.
Well, the Object [a heavy smoker] was an exhalation artist"  on several occasions. Humor and irony are frequently used in the book.
Propelled by a full bladder, it cleared the lip of the font His grandparents assimilate into American culture through hard work and struggles while retaining certain old customs.
His parents, however, abandon their roots for a more comfortable lifestyle. Cal notes that "[s]hameful as it is to say, the riots were the best thing that ever happened to us.
When he refers to her in the third person, he is identifying her as someone other than him. Believing that males and females have no inherent disparities in their writing styles, Eugenides treated Cal and Callie as the same person, in terms of narrative voice.
He also fixed the narrative voice in terms of age by setting up Cal to relate the entire story at one time. Eugenides gave his protagonist a mostly male outlook, justifying his treatment with the reasoning that Cal or Callie was a man in terms of appearance, sexual desires, and the brain.
The "emotional stuff" was accurate but Eugenides had to refine certain details, such as those about toenail polish.
Cal has the ability to dwell in the minds of others because as a female who has become a male, his identity is not confined by his own body.
According to Mullan, this "mobility of identification becomes a narrative principle" and is thoroughly exploited in Middlesex. Cal is a narrator who is absorbed in how his fate has been shaped.
He chooses instead to relate the story beginning with his future knowledge. Cal mimics this "genetic inevitability" by enjoining the readers to know the future prior to its occurring.
Mullan observed that "[f]or the reader, apprehension predominates over surprise" as a result of this narrative style.
The Kirkus Reviews described Middlesex as a "virtuosic combination of elegy , sociohistorical study, and picaresque adventure",  and Adam Begley in the New York Observer called it "a hybrid form, epic crossed with history, romance, comedy, tragedy.
Covering the lives of three generations of the Stephanides family, Middlesex is considered a family saga by novelist Geraldine Bedell.
Cal, narrating his story in , describes events from the early s to the mids. The novel is characterized as a "dramatic"  Bildungsroman with a "big twist" because the coming-of-age story is revealed to be the incorrect one: The latter half, "full of incest, violence, and terrible family secrets", was considered by Daniel Mendelsohn , an author and critic, to be more effective because Middlesex is largely about how Callie inherited the momentous gene that "ends up defining her indefinable life".
He said the novel is influenced by its own recounting of "excitements, patternings, and implausibilities that lie on the soft side of magical realism".
Such moments in the book include how two cousins conceive "on the same night and at the same moment" and how years later, those children marry each other.
Woods also pointed out the seeming coincidences that involved locales. Smyrna is the burning city from which she flees to start a new life; New Smyrna Beach is where she spends her retirement.
Berlin is a city formerly of "two halves or sexes" East and West. To become a male, Callie peregrinates across the United States and becomes a midwife of her new life by teaching herself to forget what she has learned as a female.
Middlesex traces the trials and adversity faced by the Stephanides family as they pursue the American Dream. They dream about a perfect America where effort and morals will lead to good fortune.
However, they must seek to attain this perfection during a period characterized by Prohibition and xenophobic anti-immigration legislation.
Middlesex portrays the race relations between people of different cultures; Mendelsohn considered the handling of this theme "preachy and nervous".
For example, during his first English-language lesson, Lefty is taught that "[e]mployees should use plenty of soap and water in the home".
According to scholar Robert Zecker, the novel depicts African-American poverty but does not illustrate its causes. The African Americans do not forget the years of oppression they have endured.
However, the Greek Americans, like other whites, fail to remember that the African Americans were assaulted by whites in and faced over two decades of oppression after that.
Instead, Zecker noted that the characters in the novel believe that the Detroit riots are "inexplicable cataclysms that came out of nowhere". However, despite this misinformation, Lefty denies service to a number of white customers who partook in the riots.
The relationship between the Greek Americans and the African Americans is fraught with prejudice. For example, during the Depression, Desdemona is shocked and humiliated that she will have to work in the Black Bottom , a predominantly black neighborhood.
When African Americans are beaten or taken advantage of by whites, the characters in Middlesex "suddenly are nearsighted" to the racial prejudice.
In the s, African Americans, instead of Mediterraneans, were discriminated against through redlining. Zecker opined that by framing African Americans as the "eternal destroyers" and white ethnics as "yet again the oppressed innocents", Eugenides "captures perfectly the dominant narrative of urban decline in the early twenty-first century American Zeitgeist.
The family participates in the white flight from the city to avoid the racial desegregation in the public schools, sending Cal to a private school.
When Lefty and Desdemona are forced to immigrate to the United States, they have different mindsets. For example, she is angered that her "immigrant hair" is chopped off because she does not want to "look like an Amerikanidha " and decides to regrow her hair immediately.
Lefty attempts to assimilate into American culture by zealously learning English. Lina, the cousin of Lefty and Desdemona, is the paragon of immigrant integration.
They debate and tell stories to each other, attempting to regain their ethnic roots. A "contrarian", Milton enjoys debating Richard Nixon and Henry Kissinger and lamenting the steep cost of church candles.
Each generation identifies with different nationalities and cultures. In the third generation, the grandchildren, who comprise the most acculturated group, characterize themselves with "Greek-immigration status as a class".
The Stephanides lineage is from Bithynios, a village in Asia Minor where the Greek middleman minority is inclined to be in uneasy relations with the Turkish majority.
The people of the middleman minority do not assimilate because of their small mercantile businesses and because their host country is antagonistic towards them.
Desdemona, a first-generation Greek immigrant, reflects a fixation with not assimilating. Because the silkworm eggs are considered parasites by the immigration officials, Desdemona must dispose of them.
Middlesex has several allusions to Greek classical myths;  for example, the protagonist is named after Calliope , the muse of heroic poetry.
The mythical monster is an analogy for a complex personality, a mixture of body parts from various animals that each represents a human aspect or characteristic.
Similarly, adolescent Callie is an amalgamation of her genes, neither male nor female, neither adult nor child, and yet all of them at the same time.
Whereas the mythical hero is troubled by Poseidon and succored by Athena , the intersex protagonist is affected by his chromosomes in a similar manner.
The novel examines the nature versus nurture debate in detail. Callie inherited the mutation for a gene that causes 5-alpha-reductase deficiency, which impedes the conversion of testosterone to dihydrotestosterone.
While the former hormone causes the brain to become masculine, it is the latter that molds male genitals. Peter Luce, a foremost expert on hermaphroditism , who believes she should retain her female identity.
Luce plans a gender reassignment surgery to make her a female. However, Callie knows that she is sexually attracted to females, and decides to run away to pursue a male identity.
Rather, it is both male and female. Thus, the novel pits evolutionary biology against free will. Explaining that gender is a "very American concept", he believes that "humans are freer than we realize.
Raised as a girl, Cal views himself as a girl who likes other girls. However, when Callie discovers that he could have been raised as a boy, he renounces his female gender, recognizing his chosen gender identity as a male.
Disowning the female gender before he learned about masculine traits bolsters the argument for the " essentialist ideology of identity".
Cal exhibits many masculine characteristics when he is a child. While his female classmates are turned off by the blood in the Iliad , Cal is "thrilled to [read about] the stabbings and beheadings, the gouging out of eyes, the juicy eviscerations.
Or do girls see through the tricks, too, and just pretend not to notice? Cal also exhibits feminine characteristics, which allows Dr.
Luce to classify her as possessing a female gender identity. In a home video taken when Cal was a child, his mother gives him a doll and he nurses it with a milk bottle.
Luce then concludes that gender identity is nurtured and etched into children at their young ages. Eugenides addresses how difficult it was for humans to devise a "universal classification for sex".
She wrote that by making these choices in the novel, Eugenides agrees with the belief that being attracted to females is "masculine" and thus it is "more natural" for a male to be attracted to a female than a female be attracted to a female.
As an adult, Cal brags, "Breasts have the same effect on me as on anyone with my testosterone level. Hermaphroditus, a young man, is chased by the nymph Salmacis.
She begs the Gods to bind her and Hermaphroditus together, and the Gods literally fulfill her wish. He instantaneously turns into someone of both sexes.
Devastated because he is no longer fully male, he "curses" the location where he first met Salmacis. In addition, the term "hermaphrodite" may be deemed problematic because it alludes to an impossible state of being: While the modern term might indicate the possibility of redefining sexual ambivalence, Cal is associated in the novel with the mythic term and all it connotes.
His connection to this tragic figure is confirmed by his performance as "Hermaphroditus" in a sex show at the age of fourteen, just as he is beginning his female to male transition.
In the s, Bernice L. Hausman described "intersexuality" as a "continuum of physiological and anatomical sex differences", contesting the notion of a "true sex" concealed in the tissues of the body.
Though "hermaphrodite" is burdened by the implications of the anomaly, "intersexuality" is a neologism that tries to "naturalize various sexes, which themselves are naturally occurring.
Eugenides replied that he reserved "hermaphrodite" for a literary character: Their action is reminiscent, Eugenides wrote, of how some members of the gay community have "reclaimed" the term "queer".
Eugenides stated that it is no surprise that Cal uses "hermaphrodite" and further elaborated: Incest and intersex is another theme in Middlesex.
Eugenides examines the passionate feelings that siblings living in seclusion experience for each other. Cal believes this interference was a factor in his being intersex.
Thea Hillman, an intersex activist and board member for the now defunct Intersex Society of North America ISNA , wrote in the Lambda Book Report , , that the combination of incest and intersex is "inaccurate and misleading".
Sarah Graham agrees with Hillman and Holmes, writing that Cal is paralleled with the tragic Greek mythological characters Hermaphroditus , Tiresias , and the Minotaur.
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