Martyr!
Chapter Fourteen: Qu Yuan
by Kaveh AkbarThe chapter opens with Cyrus waking up in a Brooklyn hotel room with his roommate Zee’s thumb in his mouth, a habit stemming from his childhood thumbsucking. Despite his father’s attempts to curb it with hot pepper juice, Cyrus’s subconscious now seeks out Zee’s thumb as a substitute. Their relationship is intimate but largely non-sexual, characterized by cuddling and occasional physical affection, which they struggle to define to others. They share a deep, platonic bond, often sleeping together like “two half-decent men sharing a blanket,” though they keep this aspect of their relationship private from their partners.
Cyrus reflects on the unique dynamics of his friendship with Zee, noting how their physical closeness contrasts with their lack of romantic involvement. Their interactions range from playful touching to mutual masturbation, yet they primarily find comfort in simply holding each other while sleeping. This ambiguity makes it difficult for them to explain their relationship to outsiders, so they avoid labeling it altogether. The chapter highlights the fluidity and complexity of their connection, which transcends conventional categories of friendship or romance.
After leaving the hotel, Cyrus navigates the unfamiliar streets of New York, feeling both awestruck and out of place as he struggles with directions. His journey to the Brooklyn Museum is fraught with wrong turns and disorientation, underscoring his provincial unease in the city. Upon arrival, he is surprised to find a long line of visitors waiting to interact with Orkideh in the *Death-Speak* gallery, a stark contrast to his previous visit. The docent’s indifferent response to his query about the crowd adds to Cyrus’s frustration.
Cyrus joins the queue, resentful of the other visitors whom he views as intrusive spectators. The chapter captures his internal conflict—a mix of admiration for the city’s grandeur and a sense of alienation. His anticipation to reconnect with Orkideh is tempered by the impersonal hustle of the weekend crowd, emphasizing his isolation amidst the urban chaos. The scene sets the stage for his ongoing search for meaning and connection in an overwhelming environment.
FAQs
1. How does the chapter characterize the relationship between Cyrus and Zee, and what literary reference does Cyrus use to describe it?
Answer:
The chapter portrays Cyrus and Zee’s relationship as intimate yet non-traditional, blending platonic and physical elements. They share beds regularly, engage in non-sexual cuddling, and occasionally participate in sexual acts, yet define themselves as “best friends” to others. Cyrus references Moby-Dick, initially considering the line about preferring “a sober cannibal than a drunken Christian” (symbolizing their unconventional bond versus societal norms) but humorously settles on the idea of “half-decent men sharing a blanket.” Their dynamic defies easy categorization, as noted in their mutual decision not to explain it to partners (pp. 150–152).2. Analyze the significance of Cyrus’s thumbsucking habit and his father’s attempted intervention. How does this detail reflect broader themes in the chapter?
Answer:
Cyrus’s thumbsucking, which persists into adulthood via proxy (using Zee’s thumb), symbolizes unresolved childhood trauma and resistance to forced conformity. His father’s harsh method—soaking his thumbs in hot pepper juice—reflects punitive attempts to “fix” natural behaviors, leaving Cyrus with lingering psychological marks (e.g., associating thumbs with “poison”). This mirrors broader themes of identity and repression: Cyrus’s subconscious reclaims autonomy by adapting the habit, just as his relationship with Zee adapts societal norms to fit their needs. The detail underscores how personal history shapes intimate relationships (p. 150).3. How does the setting of Brooklyn and the museum contribute to the chapter’s exploration of Cyrus’s identity?
Answer:
Brooklyn’s urban landscape highlights Cyrus’s feelings of displacement and self-perceived provincialism. He feels “shamefully provincial” while gazing at skyscrapers, a “country mouse” in the city, reinforcing his outsider status. The crowded museum, where he resents the “peanut-crunching crowd” (a Sylvia Plath allusion), amplifies his sense of isolation despite seeking connection with Orkideh. The hip hotel—with its performative “feminist” tarot deck—mirrors his own performative struggles with identity. These settings frame his journey as both literal and metaphorical disorientation (pp. 152–153).4. Evaluate the role of secrecy in Cyrus and Zee’s relationship. Is their choice not to disclose their intimacy to partners justified?
Answer:
Their secrecy stems from pragmatism rather than shame, as both are openly queer. The chapter clarifies they avoid disclosure because their intimacy defies easy labels—it’s neither purely platonic nor romantic, making it vulnerable to misinterpretation. By calling each other “best friends,” they sidestep exhausting explanations. This choice reflects a protective boundary, preserving the relationship’s uniqueness. However, it also hints at societal limitations: their bond exists in a cultural blind spot where non-normative relationships lack language. The justification lies in their mutual consent and emotional preservation (p. 152).5. How does the chapter use sensory details (e.g., taste, touch) to convey emotional subtext in Cyrus and Zee’s interactions?
Answer:
Sensory imagery anchors their intimacy in physicality rather than dialogue. Cyrus’s mouth on Zee’s thumb evokes trust and vulnerability, while descriptions of Zee’s “sturdy” thumbs mirror his emotional reliability. Their tactile interactions—tracing nipples or pubic hair—are depicted as instinctual and comforting, not performative. The absence of lip-kissing emphasizes how their connection transcends conventional romance. Even Cyrus’s shower routine (“trying hard not to think”) contrasts with their bed’s sensory ease, highlighting how their bond exists outside verbal or rational frameworks. These details privilege embodied emotion over explicit declaration (pp. 150–152).
Quotes
1. “It took ages for his sleeping self to finally reject his thumbs as poison. Later in his life, almost as if out of protest, Cyrus’s subconscious began enlisting any bedmate’s thumb as proxy for his own, and Zee’s was the most common surrogate.”
This quote captures the psychological complexity of Cyrus’s thumbsucking habit, showing how childhood trauma manifests in adult relationships. It introduces the intimate yet non-sexual dynamic between Cyrus and Zee that defines their bond.
2. “It was simple that way. Just two half-decent men sharing a blanket.”
This understated conclusion to the description of Cyrus and Zee’s relationship perfectly encapsulates their unconventional intimacy. The reference back to Moby-Dick’s “half-decent man’s blanket” concept shows how they’ve created their own meaningful connection outside societal norms.
3. “They found it impossible to describe their relationship to others without over- or underselling the kind of intimacy they shared. So they didn’t try.”
This quote highlights the chapter’s exploration of relationships that defy easy categorization. It speaks to the modern challenge of articulating non-traditional bonds that exist between established labels like friendship and romance.
4. “This awe made him feel good, still permeable to wonder, but also shamefully provincial. Country mouse.”
This self-reflection captures Cyrus’s dual experience of New York - both the wonder of urban grandeur and the insecurity it provokes. The “country mouse” metaphor effectively conveys his sense of displacement in the city.
5. “Interlopers, he couldn’t help but feel. Vulgar looky-loos here to gawk at the dying woman, the ‘peanut-crunching crowd’ shoving in—”
This thought reveals Cyrus’s protective, almost possessive attitude toward Orkideh and the art installation. The Sylvia Plath reference (“peanut-crunching crowd”) shows his literary sensibility while expressing his disdain for spectators treating death as entertainment.