Jeffrey Eugenides - Middlesex

Her client is still standing at the window, looking out.

“I do understand your preference for something more ‘Old World,’ Mr. Stephanides. We do get them from time to time. You just have to be patient. I’ve got your telephone number. I’ll let you know if anything comes on the market.”

Milton doesn’t hear her. He is absorbed in the view. The house has a roof deck, plus a patio out back. And there are two other, smaller buildings beyond that.

“Tell me more about this Hudson Clark fella,” he now asks.

“Clark? Well, to be honest, he’s a minor figure.”

“Prairie School, eh?”

“Hudson Clark was no Frank Lloyd Wright, if that’s what you mean.”

“What are these outbuildings I see here?”

“I wouldn’t call them outbuildings, Mr. Stephanides. That’s making it a bit grand. One’s a bathhouse. Rather decrepit, I’m afraid. I’m not sure it even works. Behind that is the guest house. Which also needs a lot of work.”

“Bathhouse? That’s different.” Milton turns away from the glass. He begins walking around the house, looking it over in a new light: the Stonehenge walls, the Klimt tilework, the open rooms. Everything is geometric and grid-like. Sunlight falls in beams through the many skylights. “Now that I’m in here,” Milton says, “I sort of get the idea behind this place. The photo you showed me doesn’t do it justice.”

“Really, Mr. Stephanides, for a family such as yours, with young children, I’m not sure this is quite the best—“

Before she can finish, however, Milton holds up his hands in surrender. “You don’t have to show me any more. Decrepit outbuildings or not, I’ll take it.”

There is a pause. Miss Marsh smiles with her double-decker gums. “That’s wonderful, Mr. Stephanides,” she says without enthusiasm. “Of course, it’s all contingent on the approval of the loan.”

But now it is Milton’s turn to smile. For all the disavowals of its existence, the Point System is no secret. Harry Karras tried unsuccessfully to buy a house in Grosse Pointe the year before. Same thing happened to Pete Savidis. But no one is going to tell Milton Stephanides where to live. Not Miss Marsh and not a bunch of country club real estate guys, either.

“You don’t have to bother with that,” my father said, relishing the moment. “I’ll pay cash.”

Over the barrier of the Point System, my father managed to get us a house in Grosse Pointe. It was the only time in his life he paid for anything up front. But what about the other barriers? What about the fact that real estate agents had shown him only the least-desirable houses, in the areas closest to Detroit? Houses no one else wanted? And what about his inability to see anything except the grand gesture, and the fact that he bought the house without first consulting my mother? Well, for those problems there was no remedy.

On moving day we set off in two cars. Tessie, fighting tears, took Lefty and Desdemona in the family station wagon. Milton drove Chapter Eleven and me in the new Fleetwood. Along Jefferson, signs of the riots still remained, as did my unanswered questions. “What about the Boston Tea Party?” I challenged my father from the backseat. “The colonists stole all that tea and dumped it into the harbor. That was the same thing as a riot.”

“That wasn’t the same at all,” Milton answered back. “What the hell are they teaching you in that school of yours? With the Boston Tea Party the Americans were revolting against another country that was oppressing them.”

“But it wasn’t another country, Daddy. It was the same country. There wasn’t even such a thing as the United States then.”

“Let me ask you something. Where was King George when they dumped all that tea into the drink? Was he in Boston? Was he in America even? No. He was way the hell over there in England, eating crumpets.”

The implacable black Cadillac powered along, bearing my father, brother, and me out of the war-torn city. We crossed over a thin canal which, like a moat, separated Detroit from Grosse Pointe. And then, before we had time to register the changes, we were at the house on Middlesex Boulevard.

The trees were what I noticed first. Two enormous weeping willows, like woolly mammoths, on either side of the property. Their vines hung over the driveway like streamers of sponge at a car wash. Above was the autumn sun. Passing through the willows’ leaves, it turned them a phosphorescent green. It was as though, in the middle of the block’s cool shade, a beacon had been switched on; and this impression was only strengthened by the house we’d now stopped in front of.

Middlesex! Did anybody ever live in a house as strange? As sci-fi? As futuristic and outdated at the same time? A house that was more like communism, better in theory than reality? The walls were pale yellow, made of octagonal stone blocks framed by redwood siding along the roofline. Plate glass windows ran along the front. Hudson Clark (whose name Milton would drop for years to come, despite the fact that no one ever recognized it) had designed Middlesex to harmonize with the natural surroundings. In this case, that meant the two weeping willow trees and the mulberry growing against the front of the house. Forgetting where he was (a conservative suburb) and what was on the other side of those trees (the Turnbulls and the Picketts), Clark followed the principles of Frank Lloyd Wright, banishing the Victorian vertical in favor of a midwestern horizontal, opening up the interior spaces, and bringing in a Japanese influence. Middlesex was a testament to theory uncompromised by practicality. For instance: Hudson Clark hadn’t believed in doors. The concept of the door, of this thing that swung one way or the other, was outmoded. So on Middlesex we didn’t have doors. Instead we had long, accordion-like barriers, made from sisal, that worked by a pneumatic pump located down in the basement. The concept of stairs in the traditional sense was also something the world no longer needed. Stairs represented a teleological view of the universe, of one thing leading to another, whereas now everyone knew that one thing didn’t lead to another but often nowhere at all. So neither did our stairs. Oh, they went up, eventually. They took the persistent climber to the second floor, but on the way they took him lots of other places as well. There was a landing, for instance, overhung with a mobile. The stairway walls had peepholes and shelves cut into them. As you climbed, you could see the legs of someone passing along the hallway above. You could spy on someone down in the living room.

“Where are the closets?” Tessie asked as soon as we got inside.

“Closets?”

“The kitchen’s a million miles away from the family room, Milt. Every time you want a snack you have to traipse all the way across the house.”

“It’ll give us some exercise.”

“And how am I supposed to find curtains for those windows? They don’t make curtains that big. Everyone can see right in!”

“Think of it this way. We can see right out.”

But then there was a scream at the other end of the house:

“ Mana! ”

Against her better judgment, Desdemona had pressed a button on the wall. “What kind door this is?” she was shouting as we all came running. “It move by itself!”

“Hey, cool,” said Chapter Eleven. “Try it, Cal. Put your head in the doorway. Yeah, like that . . .”

“Don’t fool with that door, kids.”

“I’m just testing the pressure.”

“Ow!”

“What did I tell you? Birdbrain. Now get your sister out of the door.”

“I’m trying. The button doesn’t work.”

“What do you mean it doesn’t work?”

“Oh, this is wonderful, Milt. No closets, and now we have to call the fire department to get Callie out of the door.”