“The Interior Castle” by Jean Stafford links the physical reality of Pansy’s world to her theoretical world. As Pansy treats her brain as a sacred treasure, she uses her mind and internal thoughts to live in a complete separate world inside her own self. During a time when outward appearance is valuable in women, Pansy shows no hint of panic toward the appearance of her face, but is exclusively concerned with the interior brain and believes this to be the sacred part of her body: “It was only convention, she thought, that made one say “sacred heart” and not “sacred brain” (Stafford, 409). In Pansy’s case, the physical pain she endures is nothing compared to the pain she feels towards the thought of her brain being violated in any way. Although the demands of surgery and the physical pain have ...
... middle of paper ...
... “Pain Has an Element of Blank” describes the building blocks of pain that causes the transformation in Pansy and Lucy. Emily Dickinson presents pain as being an all-consuming world with infinite ends. The reader sees this element of physical and emotional pain as being the key to the transformation in both women. It is clear that pain possesses a certain power over people and their experiences in life.
Cuenca, Mercè. "“Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath." Australian Studies Center, 2009. Web. 23 Sept. 2014.
Dickinson, Emily. "Pain Has an Element of Blank." (1924). Print.
Grealy, Lucy. Autobiography of a Face. Boston: Houghton Mifflin, 1994. Print.
Stafford, Jean. "The Interior Castle." (1969): 406-17. Print.
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