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Middlesex (novel)

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Middlesex
A book cover shows a family of four looking at the New York Harbor from their ship. Words on the cover say "Winner of the Pulitzer Prize".
AuthorJeffrey Eugenides
Cover artistWilliam Webb (Bloomsbury paperback)
LanguageEnglish
GenreNovel, family saga
PublisherBloomsbury Publishing (UK)
Farrar, Straus and Giroux (USA)
Publication date
7 October 2002
Publication placeUnited States
Media typePrint (Paperback and Hardback) and audio-CD
Pages529 pp (Bloomsbury paperback)
ISBN[[Special:BookSources/ISBN+0-374-19969-8+%28Farrar%2C+Straus+and+Giroux+hardcover%29+%3Cbr%3E%0AISBN+0-7475-6162-1+%28Bloomsbury+paperback%29 |ISBN 0-374-19969-8 (Farrar, Straus and Giroux hardcover)
ISBN 0-7475-6162-1 (Bloomsbury paperback)]] Parameter error in {{ISBNT}}: invalid character
OCLC48951262
813/.54 21
LC ClassPS3555.U4 M53 2002

Middlesex is a Pulitzer Prize-winning novel by Jeffrey Eugenides published in 2002. Despite initially underwhelming sales, the book later became a bestseller. The novel's characters and events are loosely based on the author's life, including the 1967 Detroit riot, which he had observed when he was a child.

The narrator and protagonist, Cal Stephanides (initially called "Callie"), is an intersexed person of Greek descent. He has 5-alpha-reductase deficiency which causes him to have the appearance of a female. The first half of the novel is about Cal's Greek family, beginning with his grandparent's migration from a small village in Asia Minor in 1922 and then depicting their assimilation into the American society. The latter half of the novel is devoted to telling Cal's story in Detroit, Michigan in the late 20th century. This story is intertwined with meditations on the era's zeitgeist and bits of contemporary history, including the Prohibition, the Great Depression, and the civil rights movement.

Primarily a Bildungsroman and family saga, the novel portrays three generations of a Greek family and the journey of a mutated gene that effects momentous changes in the protagonist's life. Scholars have noted that the main themes of the novel are nature vs. nurture and rebirth and that the novel depicts the differing experiences of polar opposites, such as males and females. Middlesex contains many Greek mythical allusions, including the Minotaur, who was half-man and half-bull, and the Chimera, a monster composed of multiple animal parts.

Critics varied widely in their assessments of the novel. Entertainment Weekly, the Los Angeles Times, and The New York Times Book Review considered Middlesex to be one of the best books in 2002. Some scholars believed that Middlesex is a candidate for the title of "Great American Novel". Generally, reviewers were of the opinion that Eugenides succeeded in his story of Greek immigrants. Reviewers were also impressed with Eugenides' depiction of his hometown of Detroit and praised him for his commentary about societal issues. In 2007, the book was featured in Oprah's Book Club. In July 2009, HBO announced that Middlesex would be adapted into a one-hour drama series, with the script written by Donald Margulies.

Background and publication

Two decades prior to writing Middlesex, Eugenides had read the Memoirs of Herculine Barbin, which detailed the life of a hermaphrodite convent schoolgirl living in 19th-century France.[1][2] Believing that the memoir evaded discussion about hermaphrodites' anatomy and emotions, he concluded that he would "write the story that I wasn't getting from the memoir".[1] To learn about hermaphrodism, sexology, and the formation of gender identity, he sought the advice of many experts and read extensively. However, he never met a hermaphrodite, saying that "[I] decided not to work in that reportorial mode. Instead of trying to create a separate person, I tried to pretend that I had this and that I had lived through this as much as I could."[1]

Eugenides traveled to MacDowell Colony in New Hampshire to start writing Middlesex. At the art colony, he met his wife, Karen Yamauchi, in 1995 and fell in love with her.[3] It took Eugenides nine years to write Middlesex, mainly due to the difficulty he had with its voice, which "had to be capable of telling epic events in the third person and psychosexual events in the first person. It had to render the experience of a teenage girl and an adult man, or an adult male-identified hermaphrodite."[4] The book was published in 2002, nine years after the publication of his first novel, The Virgin Suicides.[5]

The incidents that occur to Cal's family parallel the historical events of the day. For instance, Milton's family business is destroyed in a conflagration in the 1967 Detroit riot. When the Watergate scandal occurs, Milton empathizes with President Richard Nixon. At the same time, his son, Chapter Eleven, frets about the draft to fight in the Vietnam War.[6] The novel also depicts the Prohibition, the Great Depression, and the civil rights movement.[7]

The novel's title is a double entendre.[8] It describes both the name of the road, Middlesex Boulevard, on which Callie lives in the 1970s, and his intersexual situation.[4] About half of Middlesex details incidents prior to Callie's birth.[9]

The book was published on October 7, 2002, by Bloomsbury Publishing.[10] During the week following April 7, 2003, the day Middlesex won the Pulitzer Prize, the book had a sale of 2,700 copies. The interest about the book generated from the Pulitzer award propelled Middlesex's sales nearly to be on The New York Times Best Seller list, which only publishes the top 15 bestsellers, in that the novel placed 17th on the "expanded list".[11] The book later made the best-selling fiction list and kept its position for five weeks.[12] In June 2007, the novel was 7th on USA Today's Best-Selling Books list.[13] Since 2002, three million copies of Middlesex have been sold.[3] In the same month, after Eugenides appeared on Oprah to discuss the novel, Middlesex placed 2nd on The New York Times best-selling paperback fiction list.[14]

Plot summary

See also: List of characters in Middlesex

The novel begins with the narrator, aged 41, recounting how the recessive gene, 5-alpha-reductase deficiency, caused him to be born with the characteristics of a female. He is christened with a female name Calliope and nicknamed Callie. After learning about the syndrome in his adolescence, he changes his name to the masculine name Cal. The narration periodically returns to the frame story of present-day Cal, who is bearded, male and interested in women, foreshadowing the personal revelations of Callie. The narration briefly explains how Desdemona, Cal's grandmother, predicted her grandchild to be male while Callie's parents had already made preparations for the birth of a daughter.

The story starts again further back in time, in a small village in Asia Minor, with the protagonist's Greek paternal grandparents. Eleutherios "Lefty" Stephanides and Desdemona Stephanides are orphaned siblings who share a close bond that begins to develop into a romantic relationship, despite their misgivings. Soon, in the aftermath of the 1922 war between Greece and Turkey, and amid graphic scenes of the Great Fire of Smyrna, the siblings are forced to seek refuge by emigrating to America. On the eve of their departure, Desdemona agrees to marry her brother. The marriage is possible because no one in America knows they are siblings and, as such, the legal and social prohibitions against marriage between siblings are not a risk. They reach the United States, and settle in Detroit, Michigan, home of their cousin Sourmelina "Lina" Zizmo, their American sponsor, and her husband Jimmy. Lefty soon goes into an alcohol-smuggling business run by Jimmy. In time, Desdemona gives birth to a son, Milton, while Lina gives birth to a daughter, Theodora, called "Tessie". Desdemona is made aware of the potential for disease in children due to consanguinity and becomes anxious about her pregnancy and the morality of her sexual relationship with Lefty. With the quality of his marriage declining, Lefty decides to open a bar and gambling room, calling it the Zebra Room.

Lefty and Desdemona's son, Milton, marries Lina's daughter, Tessie. Milton and Tessie, who are second cousins, have two children. "Chapter Eleven" (a reference to the fact that he eventually becomes bankrupt)[15] is a biologically "normal" boy, but Callie is intersexed. However, the family does not know this for many years, and Callie is consequently raised as a girl.

At fourteen, Callie falls in love with her female best friend (referred to in the novel as "The Obscure Object") and has her first sexual experiences with both sexes, a brother and sister. After Callie is injured by a tractor, a doctor discovers that Callie is intersexed, and she is taken to a clinic in New York where she undergoes a series of tests and examinations. Faced with the prospect of sex reassignment surgery, Callie runs away and takes the male identity of Cal. Cal hitchhikes cross-country, finally arriving in San Francisco, where he becomes an attraction in a burlesque show.

The club where Cal works is raided by police, and Cal is returned to Chapter Eleven's custody. Desdemona sees Cal as male for the first time, and the book ends when Desdemona confesses to Cal that Lefty was her brother. Cal stands in the doorway to the family's Middlesex home (a male-only Greek tradition thought to keep spirits of the dead out of the family home) while Milton's funeral takes place. As an adult, Cal becomes a diplomat and is stationed in Berlin. He meets Julie Kikuchi, a Japanese-American woman with whom he starts a relationship.[9]

Autobiographical elements

Several people and events from Eugenides' life parallel those of the fictional Callie. Born in 1960, the same year that Callie was born, Jeffrey Eugenides is the son of a Kentuckian mother and a Greek father. He, like Callie, had to learn about Greek customs in order to understand his grandparents' way of life.[1] Eugenides' grandfather resembles Calliope's grandfather in that both owned a bar.[16] Eugenides named the bar in Middlesex Zebra Room as a "secret code of paying homage to my grandparents and my parents".[1] Both Eugenides and the narrator have lived on a street called Middlesex Boulevard.[4] Both Eugenides and the narrator grew up in Detroit, were raised in the middle-class setting of Grosse Pointe, experienced the 1967 Detroit riot.[17][18] Both had grandparents that had been silk farmers.[19]

Eugenides recalled how he, like Cal, grew slowly and felt much embarrassment.[19] The all-girls' private school that Callie attends resembles University Liggett School, a private school that Eugenides attended before he pursued further education at Brown University.[20] Both the author and his protagonist have elder brothers who undergo "hippie phases" and disappear from society for a short while.[21] Eugenides explained in an interview with Salon that to write a novel that people could connect to, "I drew on my memories of my own adolescence and, as they call it, locker room trauma."[19] While Cal has a romantic relationship with Julie Kikuchi, a Japanese-American woman, Eugenides married Karen Yamauchi, a Japanese-American artist.[21] Eugenides and Cal both move to Berlin.[18]

Eugenides denied that the book was an autobiography. Explaining why his life paralleled Cal's, he remarked, "I think most writers use bits of their life to add credibility to their work, and that's certainly the case with Middlesex. I knew I was writing about something far from my own experience, so it seemed wise to blend that with a lot of things that I do know well, to make this story real for me, and hopefully for the reader as well."[18]

While writing the novel, Eugenides did not worry about how his family would react to the book. However, he admitted that when he was revising the book, he removed some information that would be potentially offensive to his relatives. Eugenides remarked, "I keep filial respect out of my mind until I'm done. And then compunction rushes in. During the editing of Middlesex, I took a few things out that might have stung my relatives. There may still be things in there that will sting."[22]

Style

[T]he writing itself is also about mixing things up, grafting flights of descriptive fancy with hunks of conversational dialogue, pausing briefly to sketch passing characters or explain a bit of a bygone world.

—Lisa Schwarzbaum in Entertainment Weekly[23]

Middlesex is written in the form of a memoir.[24] The book, when it discusses Cal's family before he was born, is written with a "limited" omniscient point of view in an androgynous voice.[25][26] Cal is knowledgeable of all that is occurring and that has occurred, but sometimes acknowledges that he is fabricating some of the details.[26] The book shifts back and forth from third person to first person.[2] When Cal discusses Callie, he adopts the third person to dissociate himself from her.[27] Eugenides explained that "[t]he voice had to be elastic enough to narrate the epic stuff, the third-person material, and it had to be a highly individualized first-person voice, too."[22] Cal's voice is able to maintain the interest and empathy of readers because Cal is "[f]unny, humane, [and] endearingly self-aware".[28]

As Cal transitions from being a female to being a male, the voice does not change significantly. The reason for this is that Eugenides does not believe that males and females have inherent disparities in their writing styles. That is, he believes that there are greater disparities between the ways that individuals write than between people of the opposite sex. Furthermore, the voice does not change significantly because throughout his life, Cal possessed a male brain and was a heterosexual male, and he wrote the saga when he was an adult.[22] However, Cal was female at one point, so Eugenides sought to get "emotional stuff right". He consulted his wife and several other women who told him that the emotion was accurately portrayed. The women also helped him with the more feminine aspects of the novel such as toenail polish.[22]

The narrator's tone is considered to be "sardonic empathy".[29] Critics have characterized the beginning of the novel about Lefty and Desdemona as having a comedic element.[29][30] The Stephanides' relationship with the blacks, as well as America's race issues, have been criticized as being "preachy and nervous".[30] Middlesex also has an ironic tone. Cal's parents go on the journey of immigrants' children, leaving their small ethnic groups and moving from city to suburb.[31]

Eugenides frequently recounts the events that have already occurred and also foreshadows the upcoming events in the book.[32] Using modern pop music and Greek myths allusions, Eugenides depicts how family characteristics and idiosyncrasies are passed on from one generation to the next. He also employs leitmotifs to depict how chance affects the family's way of life.[6]

Genres

Although we tend to take its genetic makeup for granted, the novel is a hybrid form, epic crossed with history, romance, comedy, tragedy. Sometimes the traits of other shadowy ancestors appear: confession, folk tale, sermon, travelogue.

—Adam Begley in The New York Observer[33]

Middlesex is characterized as a Bildungsroman with a "big twist" because the coming-of-age story is revealed to be the incorrect one.[30] The book has "two distinct and occasionally warring halves".[30] Whereas the first part is about hermaphrodites, the second is about Greeks. The latter aspect of the novel is considered by critics to be more effectual because Middlesex is largely about how Cal inherited the momentous gene that "ends up defining her indefinable life".[30] Also considered a family saga, the book covers the lives of three generations of the Stephanides family.[4]

The start of the novel is considered a tragicomedy about the Stephanides family's migration from Greece and assimilation into America. As the story progresses, Middlesex shifts into a social novel about Detroit, discussing the seclusion of living in the 1970s suburb.[26]

Themes

Rebirth

Rebirth is one of the themes in Middlesex. Following the Great Fire of Smyrna, Lefty and Desdemona must start life anew. When she is fourteen years old, Callie experiences a second birth to become Cal. To become a male, Callie peregrinates across the United States, becoming a midwife of her new life. She attempts to forget what she has learned as a female.[34] Middlesex delves into the concept of identity, including how it is formed and how it is administered.[31] The immigrant situation is a metaphor and synecdoche for Callipe's hermaphroditic condition; Callie's grandparents become Americanized through the amalgamation of the elements of heredity, cultural metamorphoses, and probability.[24]

Opposites

A central theme in the novel is the schism and reconciling of two opposites. The book contrasts the experiences and opinions of males and females, Greek Americans and WASPs, Greeks and Turks, and African Americans and White Americans.[9][33] Despite these conflicts, the narrator is able to achieve "ethnic reconciliation" when he moves to Berlin and lives with the Turks, people who had murdered his forebears in the early twentieth century and who had indirectly allowed his grandparents to consummate their incestuous relationship.[35] Alkarim Jivani of Newsnight opined that "[o]nly a child of the Diaspora can do that, because we stand on the threshold of two rooms.[36]

The novel demonstrates that hermaphrodites are like people with unambiguous genders. Love and family are just as vital to a hermaphrodite as to a normal human.[37]

Nature vs. nurture

The novel examines the nature versus nurture debate in detail. At the beginning of the novel, Cal writes, "Sing now, O Muse, of the recessive mutation on my fifth chromosome."[38] He then apologizes, saying, "Sorry if I get a little Homeric at times. That's genetic, too."[38] This is an allusion to the poet Homer who was also captivated with the nature vs. nurture debate.[9] In fact, Cal himself confesses, "If you were going to devise an experiment to measure the relative influences of nature versus nurture, you couldn't come up with anything better than my life."[39]

Callie has inherited the mutation for a gene that causes 5-alpha-reductase deficiency, which impedes the conversion of testosterone to dihydrotestosterone.[40] While the former hormone causes the brain to become masculine, it is the latter that molds male genitals.[40] When Callie reaches puberty, her testosterone levels increase significantly, resulting in the formation of a larger Adam's apple, the broadening of the muscles, the deepening of her voice, and the augmentation of her clitoris to resemble a penis.[41] Doctors determine that Callie has the XY chromosomes of a male after inspecting Callie's genitalia.[42] Callie's parents bring her to New York City to see Dr. 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 has a sexual attraction to females and decides to run away to avoid mutilation and to pursue a male identity.[41] When Cal has a sexual relationship with the Japanese-American photographer Julie at the end of the book, he is able to love "without the need to penetrate the object of his desire".[35]

Science may cause people to be restricted by heredity, whilst the true cause of Cal's hermaphroditic condition is due to DNA.[29] According to Sonja Lyubomirsky, the novel examines how an individual's traits are due neither solely to nature nor solely to nurture. Likewise, Cal's gender cannot be defined solely as male or female. Rather, Cal's gender is both male and female.[43] Addressing how genetic determinism may have renewed the antediluvian beliefs about destiny, Eugenides refutes the post-Freudian beliefs that a person's traits are mainly due to nurture. Thus, the novel pits evolutionary biology against free will.[4] Eugenides seeks to find a compromise between these two views. Explaining that gender is a "very American concept", he believes that "humans are freer than we realize. Less genetically encumbered".[22]

Gender identity

Raised as a girl, Cal views himself as a girl who likes other girls.[44] His ability to have a "feminine gender schema" despite his having male genes substantiates the constructionist position that gender identity is fully dependent on outer influences.[45] However, when Callie discovers that he could have been raised as a boy, he renounces his female gender, recognizing his chosen sexual identity as a male. Disowning the female gender before he learned about masculine traits bolsters the argument for the "essentialist ideology of identity".[45] Cal's embracement of the male identity inherent in him and renouncement of the female gender identity nurtured in his childhood is articulated by Cal when he reflects,[45] "I never felt out of place being a girl, I still don't feel entirely at home among men."[46]

Cal exhibits many masculine characteristics when he is a child.[47] He writes, "I began to exude some kind of masculinity, in the way I topped up and caught my eraser, for instance."[48] In another incident, Cal discusses how his penchants were masculine.[47] 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".[49] Cal ponders his gender identity and how males and females associate with each other,[47] reflecting, "Did I see through the male tricks because I was destined to scheme that way myself? Or do girls see through the tricks, too, and just pretend not to notice?"[50]

Cal also exhibits feminine characterics, which allows Dr. Luce to classify her as possessing a female gender identity. In a home video taken when Cal was a child, his mom gives him a doll and he nurses it with a milk bottle. Luce carefully observes Callie's actions and diagnoses them as feminine, which causes him to determine that Callie has a feminine gender identity. Luce then concludes that gender identity is nurtured and etched into children at their young ages.[47]

Determining sex is paradoxical because the characters believe that the outward view of genitalia identifies one's sex; Cal's transformation into a male shatters this belief and the methodology behind determining gender. Eugenides addresses how difficult it was for humans to devise a "universal classification for sex".[45] He opines that the 1876 system devised by Edwin Klebs that used gonad tissue to determine sex provides the most accurate answer.[45]

According to book reviewer Morgan Holmes, Eugenides posits that a person's sexual attraction determines his or her gender.[51] Cal's wish to become male because he desires females demonstrates a link between gender identity and sexuality.[52] Cal's attraction to women demonstrates that he is a man.[53] Whilst Callie is not permitted to love the Obscure Object openly, Cal can freely love Julie.[53] Holmes believes that the depiction of Callie renounces "the legitimate place of lesbian desire and rewrites it as male heterosexuality".[54] Book reviewer Georgia Warnke has a similar view. She writes 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.[52]

Greek mythical allusions

Eugenides said in an interview that "[h]ermaphrodism is an idea in human culture that has existed for thousands of thousands of years in classical Greek myths. A person changing genders is not something most people haven't wondered about or aren't a little bit fascinated about."[55] The novel frequently alludes to Greek myths. Cal frequently compares himself to Tiresias, the male prophet who also switched genders. Cal is compared to the Minotaur, a creature that, like her, was half and half—part man and part bull.[26] The protagonist is named after Calliope, the muse of heroic poetry.[24] The book discusses Sapphic love; Callie has sexual relations with the Obscure Object, her closest friend.[31][56] Cal resembles the hero Odysseus. Just as Poseidon and Athena beset Odysseus, so did the chromosomes hassle Cal.[57] Christina McCarroll of the Christian Science Monitor wrote that "Eugenides wrangles with a destiny that mutates and recombines like restless chromosomes, in a novel of extraordinary flexibility, scope, and emotional depth."[58]

Book reviewer Frances Bartkowski identified Callie to be like a Chimera—a monster composed of multiple animal parts—in that in the end, she would transform into her own sibling of the other sex.[56] When Callie is in New York, she goes to the New York Public Library and searches for the meaning of the word "hermaphrodite".[59] She becomes shocked when the dictionary entry concludes with "See synonyms at MONSTER."[60] Callie is not a Frankenstein; she is more like the Bigfoot or Loch Ness. Eugenides' message is that "we must let our monsters out—they demand and deserve recognition—they are us: our same, self, others."[59]

Incest is another theme in Middlesex. Eugenides examines the passionate feelings that siblings living in seclusion experience for each other.[30] Milton and Tessie, second cousins, are conceived during the same night, hinting to the incest of Desdemona and Lefty.[34] Desdemona and Lefty's incestuous relationship is a transgression of a puissant taboo, indicating that someone will suffer for their wrongs; in a way, Cal's intersex condition symbolizes this Greek hubris.[34] In another incestuous relationship, Milton makes love to Tessie through a clarinet which he lovingly rubs against her; their incestuous relationship enables them to contribute mutated genes to their child Cal.[61] Cal's mother interferes with fate by attempting to make her second child a daughter. Cal believes this interference was a factor in him being a hermaphrodite.[6] Conversely, Cal's relationship with his brother, Chapter Eleven, is indicative of the possible dissimilarities that are products of the biosocial.[56]

Jeff Turrentine of the Orlando Sentinel was impressed with Eugenide's knowledge of mythography. Turrentine wrote that Eugenides was filled with "heroic energy, keen wit and genuine compassion" when addressing the Greek riddles.[31]

Reception

Scope of the novel

Critics were dissatisfied with the scope of the novel.[30][62] Mendelsohn wrote that thematically, there was no reason that a Greek should be a hermaphrodite or a hermaphrodite should be a Greek, but that Eugenides had two disconnected stories to tell.[30] Caly Risen of Flak Magazine believed that the immigrant experience was the "heart of the novel", lamenting that it minimized the story of Callie/Cal who is such a "fascinating character that the reader feels short-changed by his failure to take her/him further".[24] Risen wished to read more about the events in between Cal's adolescence and adulthood, such as Cal's experience in college as a hermaphrodite as well as the relationships he had.[24] However, Eugenides purposefully devised this asymmetry.[63] Stewart O'Nan of The Atlantic also felt that the brief description of Callie's childhood was lacking; the book "gloss[es] over" how her mother did not recognize that Callie had male genitalia when she was washing or clothing Callie.[32] Furthermore, O'Nan characterized Cal's relationship with the Japanese-American photographer Julie as being "underdeveloped", causing the reader not to experience its entirety.[32]

Lisa Schwarzbaum of Entertainment Weekly called the novel a "big-hearted, restless story" and rated it an A-.[23] Lisa Zeidner of the Washington Post opined that Middlesex "provides not only incest à la Ada and a Lolita-style road trip, but enough dense detail to keep fans of close reading manically busy."[63] Tami Hoag of People concurred, writing that "this feast of a novel is thrilling in the scope of its imagination and surprising in its tenderness".[64] Andrew O'Hehir of Salon.com agreed, praising Middlesex for being an "epic and wondrous" novel filled with numerous characters and historical occurrences.[26]

Daniel Mendelsohn of The New York Times Book Review praised Middlesex for its "dense narrative, interwoven with sardonic, fashionably postmodern commentary".[30] However, he criticized the novel for being a disjointed hybrid. He believed that Eugenides mishandles the hermaphrodite material, which is characterized as "unpersuasiv[e]" but is successful with the story of Greek immigrants, which is described as "authenti[c]".[30]

Detroit

Marta Salij of the Detroit Free Press was impressed with the book's depiction of Detroit, writing "[a]t last Detroit has its great novel. What Dublin got from James Joyce—a sprawling, ambitious, loving, exasperated and playful chronicle of all its good and bad parts—Detroit has from native son Eugenides in these 500 pages."[57] David Kipen of the San Francisco Chronicle agreed, opining "[a]mong so many other things, this praiseworthy, prize-worthy yarn succeeds as a heartbroken mash note to the Detroit of Eugenides' birth, a city whose neighborhoods he sometimes appears to love—as he loves his characters—less for their virtues than for their defects. Any book that can make a reader actively want to visit Detroit must have one honey of a tiger in its tank."[28]

Great American Novel and comparison with The Virgin Suicides

Several critics have called the book a candidate for the title of "Great American Novel".[24][65] Tim Morris, a professor at the University of Texas at Arlington, wrote that the novel was "the latest in a long line of contenders for the status of Great American Novel".[65]

David Gates of Newsweek contrasted Eugenides' debut novel, The Virgin Suicides with Middlesex, writing that the first novel was "ingenious", "entertaining", and "oddly moving", but that Middlesex is "ingenious", "entertaining", and "ultimately not-so-moving".[66] Despite this criticism, Gates considered Middlesex to be the novel where Eugenides "finally plays his metafictional ace".[66]

Honors and adaptation

In 2003, Middlesex was awarded the Pulitzer Prize for Fiction.[25] The Pulitzer Board wrote in their report that Middlesex is a vastly realized, multi-generational novel as highspirited as it is intelligent . . . Like the masks of Greek drama, Middlesex is equal parts comedy and tragedy, but its real triumphs is its emotional abundance, delivered with consummate authority and grace."[67] The novel also received the Ambassador Book Award, Spain's Santiago de Compostela Literary Prize, and the Great Lakes Book Award.[68] Also in 2003, it was a finalist in the fictional category of the National Book Critics Circle Award.[58][69]

Entertainment Weekly, the Los Angeles Times, and The New York Times Book Review consider Middlesex to be one of the best books in 2002. In spite of this acclamation, its sales were initially underwhelming;[1] it later became a best-selling book.[70] In 2007, Oprah Winfrey chose Middlesex to be discussed in her book club.[5] Eugenides was a guest on Oprah with several intersex individuals who told stories about their lives.[3]

In July 2009, HBO announced that it would create a one-hour drama series based on Middlesex.[71] The script will be written by Donald Margulies,[72] and the project will be produced by Rita Wilson and Margulies.[71]

References

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  2. ^ a b Eugenides, Jeffrey (2003). "3am Interview An Interview with Jeffrey Eugenides, Author of the Middlesex and The Virgin Suicides" (Interview). Interviewed by Moorhem, Bram van. Archived from the original on 2010-02-21. Retrieved 2010-02-06. {{cite interview}}: Unknown parameter |program= ignored (help)
  3. ^ a b c Brown, Mick (2008-01-05). "Jeffrey Eugenides: Enduring love". The Daily Telegraph. Archived from the original on 2010-04-02. Retrieved 2010-04-02.
  4. ^ a b c d e Bedell, Geraldine (2002-10-06). "He's not like other girls". The Guardian. Archived from the original on 2010-02-21. Retrieved 2010-02-01.
  5. ^ a b Schwyzer, Elizabeth (2010-01-08). "Jeffrey Eugenides's Middlesex". Santa Barbara Independent. Archived from the original on 2010-02-21. Retrieved 2010-02-18.
  6. ^ a b c Kakutani, Michiko (2002-09-03). "The American Dream Seen in a Child's Nightmare". The New York Times. Archived from the original on 2010-02-26. Retrieved 2010-02-26.
  7. ^ Gelman 2004, p. 265
  8. ^ Freeman, John (2002-09-29). "'Middlesex' plumbs depth of displacement". Pittsburgh Post-Gazette. Archived from the original on 2010-02-21. Retrieved 2010-02-15.
  9. ^ a b c d Miller, Laura (2002-09-15). "'Middlesex': My Big Fat Greek Gender Identity Crisis". The New York Times. Archived from the original on 2010-03-02. Retrieved 2010-03-02.
  10. ^ "Jeffrey Eugenides". Bloomsbury Publishing. Archived from the original on 2010-04-06. Retrieved 2010-04-06.
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Bibliography

Awards
Preceded by Pulitzer Prize for Fiction
2003 		Succeeded by
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