unraveling vulnerability. patty johnson

7/31/2019 Unraveling Vulnerability. Patty Johnson

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Unraveling Vulnerability: the Pursuit of the Unconscious Construct

By Patty Johnson

June 25, 2012


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Unraveling Vulnerability: the Pursuit of the Unconscious Construct

Vulnerability is at the core of the human experience. [T]o let ourselves be seen, deeply

seen, vulnerably seen; to love with our whole hearts, even though theres no guarantee is the

path to unraveling vulnerability (Brown, 2011, 2). In his novel, Wicked: The Life and Times of

theWicked Witch of the West, Gregory Maguire skillfully portrays the element of vulnerability in

his protagonist, Elphaba. Through the lens of a psychoanalytical analysis, Freuds typographical

model of the conscious, preconscious, and unconscious constructs allows the reader to see the

Wicked Witch of the West stripped from the walls she has built to protect herself, unravels her

vulnerability, and uncovers her unconscious construct.

Elphaba spends her life adding layers of protection to cover the vulnerability she carries

due to the color of her skin and the mystery surrounding her conception; however, her

unconscious construct continues to betray her by allowing her true feelings to surface. [Y]oung

children are uniquely vulnerable due to their limited social power (Thompson , 1990, 5). As a

small child, Elphaba quickly learns she is different and that difference is the catalyst for fear.

Upon initial introductions, her condition and expected response are announced: because she is

green, she is shy (Maguire, 1995, 49-50). Elphaba doesnt realize the significance of this

difference from anyone else until she is introduced to her first playmates. Adding to her

dilemma, the expected social reaction of being shy about her appearance creates confusion and

insecurity. Her peers greet her with widened eyes. Not sure what to make of her sleek, green skin

and animal-sharp teeth, they launch rocks at her until she threatens to bite them in return. In turn,

Elphaba learns to protect herself from personal threats by responding with silence and violence.


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Freuds typographical model separates the mind into three distinct constructs: the

conscious, the preconscious, and the unconscious. By definition, the unconscious is considered

inaccessible and harbors instinctive impulses, needs, desires, and drives. This is the reservoir of

inherited impulses and collected reactions. For Elphaba, her unconscious construct holds her

deep desires to love and be loved, to have a friend and be a friend, and to find purpose and

meaning to her existence. It is here that her memories are repressed in some form or other in the

unconscious only to resurface later in her behavior(Martin, 1964, 124).

As Elphaba grows and comes to understand the world around her, she recognizes the

need to bury her insecurities deep inside her unconscious construct. Her father, unable to come to

terms with her appearance, leaves for months at a time. Elphabas peers recoil whenever they

come into contact with her. The collective rejection of her is based on apparently

understandable disgust and horror; they judge her skin color not simply as different, but as a

disfigurement (Wolf, 2008, 8). The constant rejection she experiences causes her to question her

self-worth while creating severe susceptibility due to her social inequity. In response, Elphaba

learns to suppress her feelings and not allow close personal relationships to be part of her

existence. The curious circumstances surrounding Elphabas conception and the cause of her

unusually colored skin are unaddressed topics in her home; thus, the secrecy creates collusion

with the insecurity she feels regarding her origin and appearance. In return, she becomes

secretive, silent, and filled with shame. Self-conscious emotional reactionssuch as shame,

guilt, embarrassment and prideemerge later developmentally than do the primary emotions.

But once they are acquired, young children may be more vulnerable to their arousal because of

their limited understanding of these emotions (Thompson, 1990, 10). As Elphaba interacts with

others, she is constantly judged. At first she is confused and then she is ashamed. Their


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moralizing is supported by the illicit circumstances of Elphabas conceptionher mothers one-

night, drug-induced affair (Wolf, 2008, 8). Melena, her mother, never comes to her rescue in an

effort to accept accountability for Elphabas strange appearance; rather, she sits back and forces

Elphaba to own it. As a young girl, she learns that she alone must guard her feelings and

everything that identifies her must also be protected by refusing to share her thoughts, needs, and

emotions with anyone. This approach gives Elphaba the false sense of security that she is capable

of denying these things.

Intuitively, Elphaba quickly comes to understand her peculiarities and instinctively

discerns that even her parents and Nanny, her mothers caregiver, are uncomfortable with her

appearance. Her bright green skin and unusual sharp baby teeth are alarming. Considering what

to do with such a child, her mother simply states, We can always drown the baby and start

over. To this remark, Nanny derisively replies, Just try drowning that thingI pity the poor

lake asked to take her in (Maguire, 1995, 29). These cutting remarks cause Elphaba to feel

alone and isolated within her own home.

Boarding school, generally the introduction to fun and friendship, proves to be yet

another emotional challenge for Elphaba. Her unforgettable green skin is remembered by her

childhood peers who also attend school with her. In her quest to build a solid, mental fortress,

Elphaba completely buries her childhood experiences. Horrified at being recognized, Elphaba

responds with cutting remarks and ends with Oh well, I have no childhood, said Elphaba. So

you can say what you like (Maguire, 1995, 87). By refusing to acknowledge her past, she does

her best to protect the level of her exposure.


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In an interesting turn of events, Elphaba braces her unconscious construct to help her

come to terms with the paradox she encounters during her boarding school education. She finds

herself roommates with Galinda, the future Good Witch of the North. Galinda found Elphabas

hair entrancing, the more so because the girl was otherwise so ugly (Maguire, 1995, 74).

Elphabas childhood, filled with experiences which demonstrate that she is a disturbing anomaly,

alerts her to the constant need to protect her insecurities. Even though Elphaba has unique and

beautiful aspects about her, the color of her skin overrides these attributes creating space for

ongoing abuse from her peers. Adding to her dilemma, Galinda epitomizes every opposite aspect

found in Elphaba. Day and night, she is subjected to the comparison: The women are

constructed in opposites: pretty and ugly, popular and outcast, dumb and smart, silly and

political, femme andbutch, white and colored (Wolf, 2008, 7). The constant affronts to her

self-identity propel Elphaba to wonder what the color of a soul is and whether she has one. Once

again, she does her best to ignore the contradictions she sees between them and attempts to

convince her mind that their differences do not need to be consciously acknowledged.

Looking closely at Elphabas unfulfilled need to connect with others, the reader sees

evidence of Freuds typographical model which argues the third part of the psyche, the

unconscious, holds the repressed hungers, images, thoughts, and desires of human nature

(Bressler, 2007, 145). Having suppressed her deep desire for her fathers affection, Elphaba is

instantly reminded of the need to protect herself from this precarious attachment as she comes to

understand that [t]hreats to a childs self-concept become more stressful with increasing age

(Thompson, 1990, 8). Elphabas insecurity, habitually repressed, surfaces at school when her

father sends a beautiful gift of ruby encrusted shoes to her sister, Nessarose, and includes nothing

for her. Elphaba drove her fingers through the curlicues of shavings. There was nothing else in


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the box, nothing for her (Maguire, 1995, 149). Deeply saddened by the continual rejection she

encounters by her father, she commensurately suppresses her susceptibility to him. Her

unconscious, deep desire to be loved and accepted by her father continues to be unfulfilled;

therefore, Elphaba feels that she must bury her needs in order to hide her vulnerability.

Driven by her deep need to be loved, Elphaba takes Fiyero as her lover; however, he is

only allowed minimal access to her life in order to preserve her fragile existence. The happiness

which she finds in her relationship is present, but her unconscious desires take precedence which

does not allow her vulnerability to be completely exposed: She would not let him see her naked

in the light, but since he also was not allowed to visit during the day this was hardly a problem

(Maguire, 1995, 191). Not willing to risk another rejection, Elphaba grants entrance for Fiyero to

only see her in the dark. Her limited approach allows her emotions and needs to be partially

fulfilled; however, she is consciously aware of the higher need to protect herself from too much

mental and emotional exposure.

Interestingly, the critical component of vulnerability is that you cannot selectively numb

emotion. So when we numb those, we numb joy, we numb gratitude, we numb happiness

(Brown, 2011, 2). Without the balance that positive and negative emotions provide, Elphaba

searches for purpose and meaning to her life. Her insecurities grow heavier and deeper within her

subconscious mind. Sadly, in her efforts to protect herself, Elphaba successfully numbs her

emotions from negative as well as positive outcomes. Therefore, she suppresses her emotions

within her unconscious construct.

As Elphaba seeks to find purpose and meaning to her life, she devotes herself to the

protection of Animals (separate species from mere animals); advanced creatures more vulnerable


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than she is. In their politically tumultuous environment, her unselfish actions are counter-

productive. Not only is she unsuccessful, but her activities lead to the violent death of her lover.

Increasingly desperate for relief, Elphaba spends seven lonely, quiet years as a maunt in solitary

silence and voluntary nursing inside the Cloister of Saint Galinda, a mauntery, one dozen miles

outside Emerald City. Despite her relentless attempts to hide her susceptibility, her unconscious

construct betrays her: Because no retreat from the world can mask what is in your face,

(Maguire, 1995, 238). Nuns serving in the mauntery see the insecurities in Elphabas

countenance which adds to the exposure she feels the world subjects upon her. Try as she might,

she cannot completely hide her thoughts, feelings, emotions, and scars deep within the caverns of

her unconscious construct.

Liir, the product of Elphabas only love affair, cannot break through the fortress she has

built to encase her increased insecurity stemming from the violent death of her lover. Her son

politely asks to go with her when she decides to leave the mauntery. Disturbing ly, Elphabas

attempts to smother her susceptibility keep her from feeling any attachment to her child. Where

else can I go? he asked. Im sure I dont know, she answered (Maguire, 1995, 243). The

reader realizes that since Elphaba keeps the boy at an emotional distance, she robs herself of any

joy this relationship is capable of providing. Thus, her attempts to protect herself are the very

elements which deprive her life of purpose and meaning which leads to feeling vulnerable and

becomes a repetitive cycle of misery.

Reality cuts deep with the knowledge that Nessarose, Elphabas sister who is also known

as the Wicked Witch of the East, holds the primary position in their fathers heart. If Elphaba

holds out any hope that her father will find a place in his heart for her one day, this hope is

crushed with the death of her sister: Fabala, he said, what will I do without my pretty


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Nessarose? How will I live without my pet? (Maguire, 1995, 338). Her father, oblivious to the

needs and wants of Elphaba, underscores the importance of protecting her unguarded feelings

once again. The disappointment she feels is evident in her quick removal from his presence and

her inner determination never to return. In the musical version, the audience is granted additional

insight as Elphaba shares her conscious decision to not open herself to the possibility of love

claiming it comes with too high of a price. Rather, she prefers to run away and defy gravity from

the heavy weight of the threats to her mental and emotional states. Elphaba knows she must

protect her insecurities by refusing to acknowledge her needs and desires. She does not even

allow her hopes and wishes to be self-proclaimed. Through ignoring and suppressing her

vulnerabilities, Elphaba pretends they dont exist and reinforces the protective mental walls she

has built to surround her unconscious mind.

After fruitlessly devoting several years to seeking forgiveness from Sarima, the wife of

her lover, Elphaba encounters a fresh challenge to her deep insecurities. Honest, open,

defenseless Dorothy appears out of nowhere begging forgiveness for inadvertently killing her

sister. Then, in a shocking turn of events following a seemingly heroic effort to save Elphaba

from burning embers, Dorothy tosses water onto her.

The Witch shrieked, in panic, in disbelief. That even now

the world should twist so, offending her once again: Elphaba,

who had endured Sarimas refusal to forgive, now begged by

a gibbering child for the same mercy always denied her? How

could you give such a thing out of your own hollowness?

(Maguire, 1995, 402).


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The hollowness to which Elphaba feels beleaguered is the product of a lifetime of protecting her

vulnerability.

Perspicaciously, the reader concludes that despite the cruel difficulties she encounters,

Elphaba chooses her destiny. Earlier, upon leaving the Emerald City, Elphaba meets Princess

Nastoya of the Vinkus who gives her much needed advice: Nothing is written in the stars. Not

these stars, nor any others. No one controls your destiny (Maguire, 1995, 239). Elphaba

realizes that no one has chosen her path except for her. The years she has spent suppressing her

insecurities are the catalyst to her unraveling. Her behaviors, in reaching out for acceptance,

love, and friendship while outwardly pretending she doesnt, betrays her buried desires. Elphaba

chooses to hide her vulnerability; ergo, she chooses to live a numbed existence. In her last

moments, Elphaba sees that the walls she worked so hard to build to protect herself are the very

things which keep her from revealing her whole heart, her whole self, and her unconscious

construct creeps through.


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Works Cited

Bressler, Charles E.Literary Criticism: An Introduction to Theory and Practice. 4th

Ed. New

Jersey: Pearson Prentice Hall, 2007. Print.

Brown, Bren. The Power of Vulnerability. Tedx.com. Stanford University. Web. 3 Jan. 2011.

http://ccare.standford.edu/ted/brene-brown-pwer-vulnerability. Video Transcript.

Maguire, Gregory. Wicked: The Life and Times of theWicked Witch of the West. New York:

Harper Collins, 1995. Print.

Martin, Michael. The Explanatory Value of the Unconscious. Philosophy of Science. 31:2

(Apr. 1964) 122-32. JSTOR. 25 June 2012 .

Thompson, Ross A. Vulnerability in Research: A Developmental Perspective on Research

Risk. Child Development61:1 (Feb. 1990): 1-16. Print.

Wolf, Stacy. Defying Gravity: The Queer Conventions in the Musical Wicked. Theatre

Journal 60:1 (Mar. 2008): 1-21. Print.

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