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Middlesex - Jeffrey Eugenides [9]

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across the floor as my umbilical cord reattaches, and I cry out as I’m sucked back between my mother’s legs. She gets really fat again. Then back some more as a spoon stops swinging and a thermometer goes back into its velvet case. Sputnik chases its rocket trail back to the launching pad and polio stalks the land. There’s a quick shot of my father as a twenty-year-old clarinetist, playing an Artie Shaw number into the phone, and then he’s in church, age eight, being scandalized by the price of candles; and next my grandfather is untaping his first U.S. dollar bill over a cash register in 1931. Then we’re out of America completely; we’re in the middle of the ocean, the sound track sounding funny in reverse. A steamship appears, and up on deck a lifeboat is curiously rocking; but then the boat docks, stern first, and we’re up on dry land again, where the film unspools, back at the beginning …


In the late summer of 1922, my grandmother Desdemona Stephanides wasn’t predicting births but deaths, specifically, her own. She was in her silkworm cocoonery, high on the slope of Mount Olympus in Asia Minor, when her heart, without warning, missed a beat. It was a distinct sensation: she felt her heart stop and squeeze into a ball. Then, as she stiffened, it began to race, thumping against her ribs. She let out a small, astonished cry. Her twenty thousand silkworms, sensitive to human emotion, stopped spinning cocoons. Squinting in the dim light, my grandmother looked down to see the front of her tunic visibly fluttering; and in that instant, as she recognized the insurrection inside her, Desdemona became what she’d remain for the rest of her life: a sick person imprisoned in a healthy body. Nevertheless, unable to believe in her own endurance, despite her already quieting heart, she stepped out of the cocoonery to take a last look at the world she wouldn’t be leaving for another fifty-eight years.

The view was impressive. A thousand feet below lay the old Ottoman capital of Bursa, like a backgammon board spread out across the valley’s green felt. Red diamonds of roof tile fit into diamonds of whitewash. Here and there, the sultans’ tombs were stacked up like bright chips. Back in 1922, automobile traffic didn’t clog the streets. Ski lifts didn’t cut swaths into the mountain’s pine forests. Metallurgic and textile plants didn’t ring the city, filling the air with smog. Bursa looked—at least from a thousand feet up—pretty much as it had for the past six centuries, a holy city, necropolis of the Ottomans and center of the silk trade, its quiet, declining streets abloom with minarets and cypress trees. The tiles of the Green Mosque had turned blue with age, but that was about it. Desdemona Stephanides, however, kibitzing from afar, gazed down on the board and saw what the players had missed.

To psychoanalyze my grandmother’s heart palpitations: they were the manifestations of grief. Her parents were dead—killed in the recent war with the Turks. The Greek Army, encouraged by the Allied Nations, had invaded western Turkey in 1919, reclaiming the ancient Greek territory in Asia Minor. After years of living apart up on the mountain, the people of Bithynios, my grandmother’s village, had emerged into the safety of the Megale Idea—the Big Idea, the dream of Greater Greece. It was now Greek troops who occupied Bursa. A Greek flag flew over the former Ottoman palace. The Turks and their leader, Mustafa Kemal, had retreated to Angora in the east. For the first time in their lives the Greeks of Asia Minor were out from under Turkish rule. No longer were the giaours (“infidel dogs”) forbidden to wear bright clothing or ride horses or use saddles. Never again, as in the last centuries, would Ottoman officials arrive in the village every year, carting off the strongest boys to serve in the Janissaries. Now, when the village men took silk to market in Bursa, they were free Greeks, in a free Greek city.

Desdemona, however, mourning her parents, was still imprisoned by the past. And so she stood on the mountain, looking down at the emancipated

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