LitCharts assigns a color and icon to each theme in Middlesex, which you can use to track the themes throughout the work.
Rebirth vs. Continuity
Ancestry, Inheritance, and Fate
False Binaries
Migration, Ethnicity, and the American Dream
Secrets
Summary
Analysis
After learning that Cal is intersex, Julie jokes that she might still be considered his “last stop.” They go back to his apartment, have drinks, and dance. When she turns off the lights before they have sex, she claims it is because she herself is shy. Embracing her, Cal suggests that he might be her “last stop,” too.
Despite the tragedy of Father Mike’s crime and Milton’s death, Cal’s personal story ends on a happy note, as he is embraced for the first time for who he truly is by a woman he loves.
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Back in 1975, Chapter Eleven comes to San Francisco and collects Cal from jail. When Chapter Eleven sees his brother for the first time, he stares at him placidly. Thanks to taking so much acid, Chapter Eleven is very open-minded. Like Cal, he also looks different, with shorter hair and a wide-lapel shirt. The brothers hug, and Chapter Eleven says, “Dad’s dead.” He explains the story, saying that Father Mike confessed everything, and that all the money was found in his car. Cal asks how Tessie is doing, and Chapter Eleven explains that she’s angry at Milton for having gone to the train station without telling her.
As has been indicated several times in the book so far, death often provokes complicated and unexpected emotions. For example, when Jimmy Zizmo died, Sourmelina shocked everyone by how upset she was, whereas when Desdemona thought Lefty had died, she felt both happiness and sorrow. Here, Chapter Eleven explains that Tessie feels anger toward Milton—another common emotion prompted by death.
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Chapter Eleven takes care of the bureaucracy of Milton’s death, and doesn’t ask Cal anything about the Sixty-Niners or his arrest. He admits that it’s “pretty weird” to know about Cal’s condition and everything he went through at the clinic, and Cal says he finds it weird, too. Once they land in Detroit, Cal requests that Chapter Eleven drive them through downtown so he can see it. The city is less bustling than it once was; Greektown is at the beginning of a long decline. As they are driving, a man in a leather coat and “space funk goggles” catches Cal’s eye. When the man gives an angry look back, Cal realizes that he has become not just a man, but “The Man.”
From a contemporary perspective, “The Man” might seem like an outdated phrase (if not an outdated concept). The phrase became popular among countercultural groups in the 1960s to refer to those in a position of authority, especially white men. In this moment, Cal suddenly realizes that he himself is a white man, and will forever be associated (whether negatively or positively) with a kind of authority for that reason.
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When they pull up on Middlesex, Cal feels profoundly moved. Chapter Eleven starts carrying Cal’s suitcase for him, but then, jokingly, hands it over and says Cal can carry it himself. When Tessie sees Cal, she cannot help but feel disturbed, feeling that there is a “criminal aspect” to his new look. However, when they embrace each other, Tessie gently strokes Cal’s hair while he cries. She asks if it wouldn’t have been simpler for Cal to stay as he was, but Cal explains that this is how he was. In the end, Cal’s gender transition is less “dramatic” than he could have ever expected. Although he is a man, there are ways in which he remains “Tessie’s daughter.” He’ll take care of Tessie when she gets old, and they still go to Sophie’s salon together for haircuts.
It is interesting that Cal claims that his current male state represents how he always was, given that when he was raised as a girl, he didn’t express dissatisfaction or discomfort with this identity, nor did he long to be male (except when it would have given him access to the Obscure Object). At the same time, as Cal indicated earlier, not all trans and intersex people feel that they were “born in the wrong body.” For some, the desire to transition can arrive at much later points in life, but still end up representing the truth of who a person is.
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Just as Tessie, Cal, and Chapter Eleven are finally ready to go to Milton’s funeral, a voice comes through the intercom, calling for Tessie. It is Desdemona, who has remained bedridden for all these years. During this time, Desdemona largely faded from Cal’s mind. Now, she asks Tessie for her Epsom salts, and complains that since everyone else is dead, it’s unfair that she’s still alive. After speaking with her, Tessie explains that Desdemona is not doing well, and has begun to lose her mental faculties. When Tessie told her that Milton was dead, she sobbed wildly, but within a few hours had forgotten and asked for him as if he was still alive.
Considering that Desdemona and Lefty are a paired set of characters in multiple ways, it is perhaps unsurprising that Desdemona begins to experience the same mental unravelling as Lefty at the end of her (albeit much longer) life. As with Lefty, this unspooling is a kind of reversal of the epic story that constitutes Desdemona’s life and the life of the entire Stephanides family.
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Cal asks if he can go and see her, and though Tessie is initially hesitant, she agrees, pointing out that whatever happens, Desdemona will forget. Cal brings his grandmother her Epsom salts, along with a piece of baklava. Her room is dark, and the TV is on. The silkworm box remains sitting near her bed, overflowing with “mementos.” Seeing Desdemona, Cal is enchanted by her long, fine, grey hair. When Desdemona sees him, she exclaims, “Lefty!” But Cal explains that it is him, her grandson. Apologetically, Desdemona admits that she doesn’t remember him. Cal talks about Bithynios, saying that he’s going to go and fix the church there one day.
Desdemona’s misperception that Cal is Lefty is both alarming and quite moving. Not only does this brief moment bring Desdemona some joy, it confirms the idea that there was a special connection between Cal and his grandfather, and that part of Lefty lives on in Cal.
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Desdemona asks Cal to prepare her Epsom salts and help her out of bed. Once Cal helps her get into the chair and soak her feet in the salts, she closes her eyes in contentment. After a few minutes, she opens her eyes again and, staring right at Cal, shouts, “Calliope!” Desdemona’s impaired cognizance actually helps her to process the fact that Cal is now a boy. She explains to Cal that there used to be girls who turned into boys back in Bithynios, and Cal explains that it’s genetic. Desdemona then says, “It’s all my fault.” She explains that she thought incest was outlawed for religious reasons, and didn’t realize it could affect babies. She says she was “just stupid girl from village.”
The idea that Desdemona’s reduced mental faculties actually help her understand Cal’s gender transition is significant. In a way, this is the opposite of the brutal and invasive “expertise” that Dr. Luce wields against Cal. Desdemona is naïve, not only now in her cognitively impaired state, but also, as she points out, in the past. She didn’t realize that incest could lead to intersex children, yet now that she is free of the constricting power of shame, she finally puts it all together.
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When Cal asks, Desdemona explains that Lefty was her third cousin, but also her brother. Cal is stunned. At this moment, Tessie calls out to Cal, saying it’s time to go. Cal says he’s going to say with Desdemona. Imitating Milton, he says he refuses to go into a church that charges such outrages prices for candles. Laughing, Tessie agrees to let Cal stay. Looking at him, Desdemona says, “My spoon was right.” Cal promises not to tell Desdemona’s secret, but Desdemona says he can tell people after she dies.
The fact that Desdemona gives consent for Cal to tell the truth about her after her death is significant. It not only reiterates the idea that all secrets eventually come out, it also suggests that there may be part of Desdemona that wanted people to know the truth about her and Lefty. However, she is happy for this to be revealed after she no longer has to deal with the consequences.
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Milton receives the full Greek Orthodox Funeral he would have hated. Father Mike does not officiate; he has been sentenced to two years in prison. Aunt Zo divorces him and moves to New Smyrna Beach, Florida, with Desdemona. Before long, Tessie joins them. Desdemona dies in 1980. During Milton’s funeral, Tessie places his wedding crown inside the casket. Cal remains at Middlesex, performing the ritual of guarding the door so that Milton’s spirit doesn’t reenter. This is a man’s job, which Cal can now do. Although it is bitterly cold, he stays resolutely still in the doorway. He cries, thinking about Milton and the future.
By performing the ritual of standing outside the house to stop Milton’s spirit reentering, Cal symbolically informs Milton’s spirit that he is now a man. Put in another light, Cal’s performance of this ritual—like Lefty and Desdemona’s fake courtship—is mostly a way for Cal to confirm this fact to himself.