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
In Berlin, Cal goes to the opening of an Andy Warhol exhibition at the Neue Nationalgalerie. He is hoping to see Julie there, and is disappointed when he can’t find her in the crowd. However, before long, she taps him on the shoulder. They smoke a cigar together, and lean in to kiss. However, before they do, Cal says there’s something he needs to tell her about himself.
This represents a major twist in the way that Cal relates to Julie, suggesting that he is finally ready to be truthful about himself and, in doing so, open himself up to intimacy.
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In 1975, the U.S. is gripped by an oil crisis and an economic recession. Yet Milton still drives a “gas-guzzling” Cadillac. It is two a.m., and Milton is experiencing a last surge of hope long after Tessie has given up. After receiving the first phone call, he’d gotten a second. This time, the voice told him that Callie was with him. To test if this is true, Milton asks the name of the village his family comes from; after pausing to ask Callie, the voice replies, “Bithynios.” The voice demands a ransom of $25,000, but strangely, after Milton agrees to pay it immediately, the voice then insists on haggling. They land on $18,500, but the voice then goes back to the original amount.
The kidnapper certainly sounds both legitimate and sinister, although of course, because the reader knows that Cal is in jail in San Francisco, it is obvious that whoever is on the other line is actually lying. Furthermore, the request to haggle is so strange that it seems to suggest the person on the other end is something of an amateur.
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The next time the voice calls, he asks Milton to meet him the following night, explaining where to leave the money. Now, on the night itself, Milton pulls up to an old, dilapidated train station that is barely in use anymore. He stops the car and gets out the briefcase full of cash. He would never admit that he was afraid, although his body is showing signs of fear. He avoids any thought that hurts him, and this is what has led him to make the foolish decision of coming out to the train platform alone at night, without telling anyone.
Again, for a final time the novel shows how Milton has struggled to live up to the masculine ideal of fearless toughness. Indeed, in this moment that toughness verges on recklessness. Perhaps if Milton allowed himself to be more vulnerable, he would have taken better steps to ensure his own safety.
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Milton easily finds the trash can marked with chalk where he is supposed to leave the money. However, as he goes to put the briefcase in it, he hesitates. Repressing his own doubts, he drops the briefcase in there, then runs back to his car. Yet once he is in there, Milton is suddenly seized with a refusal to cooperate. He decides to insist on only paying half the money now, and half later. Milton heads back to the trash can, yet when he does so he sees there is a person standing by it, retrieving the briefcase. To his astonishment, it is Father Mike. Milton is in a state of disbelief. He thinks about all the years when Zoë has asked why Father Mike wasn’t more like Milton, investing and saving money as Milton did.
The passive, timid character of Father Mike is probably the last person the reader would expect to be pretending to be Callie’s kidnapper in order to rob Milton. Not only are Milton and Mike brothers-in-law, but Mike is a priest with a sweet, unassuming manner.
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The more Milton thinks about it, the more it makes sense that Father Mike is there. Beaten by Milton all those years ago, Mike is seeking revenge. Milton shouts at him, but Mike only smiles and backs away into his car. Milton gets into the Cadillac and begins to follow him. Cal reminds the reader that this is “a car chase between a Greek Orthodox priest and a middle-aged Republican.” As Milton chases his brother-in-law, he feels sure of himself, and even turns on the radio. However, when Milton arrives at the Ambassador Bridge, his heart sinks. He realizes that Mike is planning on fleeing to Canada. Despondent, Milton falls into traffic and loses sight of Mike’s car.
At this moment, the novel almost shifts into the crime fiction genre, as the reader is left figuring out why the unlikely figure of Father Mike would carry out such a terrible crime. Of course, as Milton identifies, Mike has a very clear motive in the form of his own dissatisfaction and desire for revenge against Milton. It seems that all the years that Mike seemed to be providing kindness and support for Milton and Tessie, he was secretly seething with rage.
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Waiting in line at border control, Milton tries to get the attention of the officers, shouting that Mike has stolen his money. However, he then sees Mike being waved through the barrier. He is furious, imagining Mike disappearing into the unknown, “foreign” world of Canada. He is especially horrified on Zoë’s behalf, fuming at Mike for abandoning his sister. When Milton himself finally gets to the border, he tries to explain what has happened to the officers, but they tell him to pull over. Milton starts doing so, but then accelerates. Now a real car chase begins, with Milton driving so fast that before long Father Mike is back in view. Looking into Mike’s eyes, Milton feels as if he is asking for forgiveness.
Even though this is a strange and in some ways tragic twist in the novel, it is also darkly humorous. The fact that Milton, a patriotic Republican, ends up in a long border control line to enter Canada, is deeply comic. Without intending to, Father Mike has placed Milton in his own personal hell. However, this ends up having serious consequences—Milton loses his sense of reason and embarks on a car chase in a highly securitized area.
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In reality, Father Mike was never the man he seemed. He is a frightened, greedy, and desperate person who never felt close to God. Tormented by his own low social status, he decided to run away from his marriage. Lost in thought, Mike suddenly realizes that there is a red brake light ahead of him, and slams the brakes, but it is too late—he crashes into the car in front. Milton expects to smash into Mike’s car, but instead, the Cadillac flies right over Mike and into the air, then begins to fall into the Detroit River. However, in that moment, Milton feels the Cadillac leveling itself—it’s flying! He says to himself, “Now, this is what I call an Air-Ride.”
Despite the dramatic climax provided by this moment, Father Mike’s story cannot be said to be particularly important within the novel overall. It is only a small, minor part of the overall tapestry that makes up Cal’s story. At the same time, it serves as a reminder that everyone is hiding secrets, and that people are often not what they seem to be on the surface.
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Cruising along, Milton gradually learns to gain control of the flying car. He gazes over the parts of the city he knows, including those that used to exist but no longer do. (Cal notes that at this point, Milton no longer has any “brain waves.”) Suddenly, Milton starts to cry, not over his imminent death, but over the fact that he didn’t manage to get Callie back. Now the car tips, and begins to nosedive toward the water. Milton suddenly realizes how foolish he’s been, and uses his last word to call himself a “Birdbrain.” Although Milton meets a tragic end, in a way it was fortunate that he dies before he can see Chapter Eleven run Hercules Hotdogs into bankruptcy and Tessie sell Middlesex. In a way, Cal is also grateful that Milton never saw him again, so that in Milton’s mind, Cal remained Callie—his little girl.
Like several other passages in the novel, it is difficult to know how literally one should interpret this passage. In some ways it seems like a dream sequences, although whose dream it is unclear. Cal’s mention of the fact that Milton no longer has brain waves indicates that he has perhaps already been killed, and that this is his body or soul’s final, fantastical impression of the world before death.