Martyr!
Chapter Twenty-two
by Kaveh AkbarThe chapter opens with Cyrus dreaming of Orkideh, a bald woman with bushy eyebrows and oversized sunglasses, walking through a luxurious mall alongside President Invective, who struggles to keep pace. Orkideh appears amused by his discomfort, while Invective, clad in an ill-fitting suit, pants heavily despite carrying nothing. Cyrus reflects on his tendency to involuntarily include repulsive figures in his dreams, such as past bullies or infamous criminals, suggesting a subconscious grappling with unresolved tensions or fears. The mall’s sterile, corporate atmosphere contrasts with Orkideh’s ease, highlighting her enigmatic presence.
Orkideh engages Invective in playful dialogue, asking why they are in the mall—or the dream—while he avoids answering directly. She shares a nostalgic anecdote about her early days in America, recalling a Persian waitress who joked about “hell chai” (cardamom tea), her first English-language humor. Invective, disinterested and distracted, fixates on his reflection, which begins to distort unnaturally. The exchange underscores Orkideh’s warmth and cultural depth, juxtaposed with Invective’s superficiality and detachment, emphasizing their ideological and personal divide.
Their journey through the mall leads them to an art store, where Invective obsesses over the *Mona Lisa*, boasting of his familiarity with it. Orkideh counters his simplistic admiration by explaining its fame stems from Napoleon’s ownership, not its artistic merit. Invective, undeterred, fixates on possessing the painting, revealing his desire for status symbols. Orkideh redirects his attention to Bruegel’s *Landscape with the Fall of Icarus*, describing its nuanced portrayal of hubris and tragedy, but Invective dismisses her lesson, preoccupied with transactional gains.
The chapter culminates in a clash of perspectives: Orkideh’s appreciation for art’s deeper meanings versus Invective’s shallow materialism. His impatience with her insights and obsession with ownership reflect his broader disregard for nuance and history. The dream sequence serves as a metaphor for power dynamics, cultural memory, and the tension between superficiality and substance, leaving Cyrus—and the reader—to ponder the unresolved friction between these two figures.
FAQs
1. How does the dream setting reveal Cyrus’s subconscious feelings about Orkideh and President Invective?
Answer:
The dream setting reflects Cyrus’s complex emotions toward these figures. Orkideh appears “bald and warm,” evoking both vulnerability and familiarity, aligning with Cyrus’s research about her. Her playful demeanor and comfort in the mall contrast with President Invective’s struggle, symbolizing Cyrus’s disdain for the latter. The dream’s involuntary nature (“unbidden”) suggests unresolved feelings—Orkideh represents warmth and cultural connection, while Invective embodies repulsion. Cyrus’s discomfort with corporate spaces (“mercenary corporate energy”) further highlights his alignment with Orkideh’s ease and Invective’s dissonance in such environments.2. Analyze the significance of Orkideh’s “hell chai” anecdote in the context of cultural identity and memory.
Answer:
The “hell chai” story underscores themes of cultural adaptation and shared humor. Orkideh’s bond with the Persian waitress over the Farsi word for cardamom (“hell”) reflects the joy of finding familiarity in a foreign land. The anecdote contrasts with Invective’s indifference, emphasizing how language and small rituals forge identity. Orkideh’s nostalgia for this “first American joke” reveals how marginalized communities create belonging through linguistic play, while Invective’s dismissal mirrors his ignorance of immigrant experiences. The tale also humanizes Orkideh, showing her as more than a political symbol.3. How does the discussion of art (the Mona Lisa and Bruegel’s Landscape) serve as a metaphor for power and perception?
Answer:
The art debate critiques superficial appreciation versus deeper understanding. Invective admires the Mona Lisa for its fame and beauty, unaware of its historical context (Napoleon’s ownership), mirroring his shallow leadership. Orkideh counters by highlighting Bruegel’s Landscape, where Icarus’s fall is a minor detail—a metaphor for how power obscures suffering. Her quote (“heavens conspired his overthrow”) subtly critiques Invective’s hubris. The contrast exposes how art, like politics, can be commodified (Invective’s desire to own the Mona Lisa) or reveal uncomfortable truths (Orkideh’s focus on Icarus’s overlooked tragedy).4. What does President Invective’s physical deterioration (e.g., “black worms” sprouting) symbolize about his character?
Answer:
Invective’s physical decay reflects his moral and intellectual corruption. The “low green light” pulsing in his face when lying and the “black worms” suggest a literal manifestation of deceit and rot. His labored breathing (“lugging a heavy load”) mirrors the burden of his dishonesty and willful ignorance. These details align with Cyrus’s view of him as a repellent figure, with his body betraying the flaws his rhetoric conceals. The imagery also foreshadows his eventual downfall, akin to Icarus’s meltdown—hubris made visible through physical disintegration.5. Why might Cyrus have chosen a mall as the dream’s setting, and how does it amplify the chapter’s themes?
Answer:
The mall represents consumerism and artificiality, contrasting Orkideh’s authenticity with Invective’s performative persona. Cyrus finds such spaces “suffocating,” yet Orkideh thrives, suggesting resilience amid alienation. Invective’s discomfort underscores his detachment from everyday people. The mall’s eclectic stores (from “plague masks” to “electron microscopes”) mirror the dream’s surreal blend of history and modernity, reflecting Cyrus’s subconscious grappling with cultural memory. The setting also satirizes power—Invective, a leader, is reduced to panting through a consumerist labyrinth, while Orkideh, a marginalized figure, navigates it with wit and grace.
Quotes
1. “‘In Farsi,’ Orkideh said, ‘the word for tea is “chai,” which I’m sure you know.’ ‘Of course,’ President Invective lied, making his face pulse with a low green light.”
This exchange highlights President Invective’s habitual dishonesty and Orkideh’s subtle mockery, while also introducing a meaningful cultural anecdote about language and connection that becomes important later in the scene.
2. “‘But the word for cardamom, which we add to our tea, is “hell.” […] It was my first English joke, my first American friend.’”
Orkideh’s poignant story about linguistic misunderstanding and human connection contrasts sharply with President Invective’s disinterest, illustrating the chapter’s exploration of cultural meaning versus superficial engagement.
3. “‘It’s famous because it hung in Napoleon’s bedroom. It is not so remarkable a portrait. […] Da Vinci would have been horrified to know that five hundred years later it would become his most famous piece.’”
Orkideh’s insightful commentary on the Mona Lisa challenges conventional wisdom about artistic value, revealing how historical accident rather than intrinsic quality often determines cultural significance.
4. “‘Icarus flew too close to the sun and his wings melted. Other artists painted it by focusing on his father Daedalus’s grief, or Icarus’s joyful hubris […] “His waxen wings did mount above his reach, and melting, heavens conspired his overthrow.“’”
This analysis of artistic interpretations of the Icarus myth serves as a subtle metaphor for the chapter’s themes of ambition, failure, and perspective, while showcasing Orkideh’s intellectual depth versus President Invective’s shallow engagement.