Middlesex

by

Jeffrey Eugenides

Middlesex: Book 3: The Obscure Object Summary & Analysis

Summary
Analysis
Cal says that the intimacy between writer and ready is “the only kind of intimacy [he’s] comfortable with.” In college, he has a girlfriend named Olivia who had been attacked and almost raped when she was 13. The event stunted her emotional development, and this is what drew Cal to her, because he felt he was stunted as well. After college Cal travels around the world, and then, nine months later, takes the Foreign Service exam. Working for the State Department is his ideal job because it allows him to constantly move around, never forming lasting attachments. Explaining his intersex condition to women he dates remains a problem. However, back when he met the Obscure Object, he was still in “blissful ignorance.”
This passage helps contextualize why the main narrative is interspersed with short snippets from Cal’s life in the present in Berlin. In a way, it prevents the reader from imagining that Cal has a too straightforwardly happy ending. Although Cal is evidently still alive, reasonably successful, and living as a man, he still faces fundamental issues, including his unwillingness to reveal the truth of his intersex condition and his fear of intimacy.
Themes
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Migration, Ethnicity, and the American Dream Theme Icon
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After Chapter Eleven goes back to college, a “silence” descends over the Stephanides house. Milton and Tessie are distraught. In spring semester of eighth grade, Callie is in Mr. da Silva’s advanced English class, which consists of her and four other students, including Maxine. Maxine is the only Jewish student at Baker & Inglis and socially isolated. Mr. da Silva, who is Brazilian, is a fantastic teacher, treating his students with true respect. He once visited Greece, where he had a profound conversation with an olive tree. In class, he asks Callie to read aloud from The Iliad, because she comes from “Homer’s own land.”
Although Baker & Inglis is a psychologically difficult environment for Callie to be in, one advantage it provides is an excellent education in which her talents are recognized, and she can explore her love of literature. While in the broader social context of the school Callie is ostracized for being Greek, in English class, Mr. da Silva celebrates this fact about her.
Themes
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Migration, Ethnicity, and the American Dream Theme Icon
Secrets Theme Icon
While Callie is reading, there is a knock at the door. A redheaded girl is standing in the doorway, enshrined in light (or at least she appears that way to Callie). The girl sits down, and Callie keeps reading, hiding behind her hair. She gazes at the girl, who has more freckles than anyone she’s seen. As soon as class is over the girl disappears, and Callie is left wondering about her. She isn’t a new student, and is “thin, austere, Protestant,” thus fitting right in. She is uninterested in class and always puts in the bare minimum of effort. She is friends with the Charm Bracelets.
Here Callie fulfils the truism that “opposites attract.” She seems to be drawn to the girl because of all the ways in which she is different from Callie herself. At the same time, Callie’s attraction also speaks to the randomness of erotic attachment. Baker & Inglis is full of girls who aren’t like Callie, so it comes off as fated and mysterious that this one in particular appeals so much to her. 
Themes
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Migration, Ethnicity, and the American Dream Theme Icon
Even though it hasn’t yet come out when they meet, Cal later associates the girl with Luis Buñel’s 1977 film That Obscure of Object of Desire. From now on, Cal will refer to the girl as the Obscure Object both out of sentimentality and to protect her privacy. One day, when Mr. da Silva asks the Obscure Object to read and she says she forgot her book, he asks her to share with Callie. This intimate proximity is unprecedented, and Callie is enchanted both by the Obscure Object’s presence and her reading voice, which is commanding and mature.
In interviews, Jeffrey Eugenides has stated that he used the name “the Obscure Object” because this was what he used to call a crush he once had in real life. Of course, one could argue that the name is rather objectifying—literally—but perhaps this is imposing too harsh a judgment considering that, like her crush, Callie herself is a teenage girl.
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Get the entire Middlesex LitChart as a printable PDF.
Middlesex PDF
Callie finds her feelings about the Obscure Object to be both normal and not. It is considered “perfectly acceptable” for girls to have crushes on each other at Baker & Inglis. The school has several rituals that encourage romantic bonding between students. At the same time, there is also an overall sense that everyone there is “militantly heterosexual.” Callie spends time in the basement bathroom at school, trying to figure out if what she feels for the Obscure Object is anything unusual. She feels safe in the bathroom, both from everyone at school and from her parents’ concerns about the fact that at 14, she still hasn’t gotten her period.
Like androgyny, homosexuality (and homosociality) are permitted within the environment of Baker & Inglis under strict conditions. In a way, this increases the level of social control surrounding non-heterosexuality even more than if anything remotely homosexual was socially forbidden outright.
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Callie also spends time in the bathroom because recently, she has noticed something growing between her legs, which she refers to as a “crocus.” Her feelings about this aren’t entirely negative, but she worries that it might be abnormal, and wants to keep it a secret. At Baker & Inglis, it is tradition that every year, the eighth graders put on a play, and this year Mr. da Silva decides that the production will be on the hockey field, Greek amphitheater-style. The play is Antigone; everyone in Advanced English gets a major role, where the rest are in the chorus. The Obscure Object is cast as Antigone, and Callie plays Tiresias. Callie is thrilled by the chance to spend more time around her crush.
Antigone is an Ancient Greek tragedy by Sophocles, based on a famous myth. It is about a woman named Antigone who wants to violate the law by burying her brother, who died in battle, and ends up killing herself. The character Callie plays, Tiresias, is a blind prophet, which is significant considering that in some cultures, intersex people are considered to have prophetic powers. 
Themes
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The Obscure Object becomes surprisingly enthusiastic about the play, suggesting that the actors memorize their lines instead of reading from the script. Callie suggests that they rehearse together, and the Obscure Object agrees. At the Object’s house, Callie is surprised to see that she is smoking; the Obscure Object explains that her parents smoke themselves, so it would be hypocritical of them to ban her from doing so. The Object says that she doesn’t believe that Callie has any bad habits, but Callie replies that she does—she chews her hair. The girls talk in a way they would never be able to at school. At one point Callie mentions vibrators, then quotes from Our Bodies, Ourselves. The Object is impressed by her knowledge.
The scene of Callie and the Obscure Object bonding over the play—and being able to become close away from the claustrophobic social hierarchy of school—is something of a cliché, although this doesn’t make it seem any less powerful and true.
Themes
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Callie goes back to the Obscure Object’s house to rehearse lines again. They lie in sun room while the Object smokes and the maid, Beulah, brings them snacks. At one point, the Object says that she’s glad they’re both in Antigone, because otherwise she would never have found out that Callie is “such a cool kid.” The Object then critiques Callie’s performance of blindness, saying that in reality blind people don’t “stumble around” like Callie does. As she is explaining, the Object holds Callie’s hand and whispers in her ear.
The Obscure Object’s criticism regarding Callie’s performance reveals two new facets of her personality that might not have been immediately obvious. Firstly, she is sensitive to stereotyping and resistant to a group of people (in this case blind people) being misrepresented. Secondly, it’s possible she wants an excuse to be physically intimate with Callie.
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On the day of the play, the actors assemble in an improvised backstage and talk about how nervous they are. Maxine waves happily to her parents, and Callie spots Milton—looking like “the captain of a cruise ship”—and Tessie. Before the play begins, Callie tells the Obscure Object not to worry, assuring her that she’s a good actress. The Object snaps in return and Callie is left feeling mortified. Callie watches the Object preparing, immersed in deep thought. She has discovered her talent for performing, and is taking it seriously.
Callie is deep in the torment of a first crush, experiencing all the major signs: oversensitivity to rejection, overreading of emotions, and desperation for signs of affirmation. However, much like Cal is hesitant to be open with his romantic partners later in life, it seems that Callie is too timid to admit her feelings to the Obscure Object.
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When the play begins, Callie watches from the sidelines; she does not have to appear for a while. Maxine’s first line comes, but she doesn’t say it. The Object repeats her line, and Maxine still says nothing. She has had an aneurysm. Hettie Grossinger is the first in the audience to realize something is wrong, and runs to her daughter, screaming “No!” Maxine falls to the floor, already dead. The Obscure Object runs offstage and straight into Callie’s arms, and—despite the tragedy of the situation—Callie is thrilled.
In a sense, a tragedy is performed onstage that day—yet it is not the tragedy of Antigone. Indeed, the major difference between the heart-wrenching death of Maxine and Greek tragedy is that while Greek tragedy heavily emphasizes ideas of inevitability and fate, Maxine’s death is horrifyingly random.
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