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In “The Most Girl Part of You” there is a relationship with pleasure and pain that is expressed perfectly by Hempel. Even in the very beginning, “Big Guy” is trying to crack his teeth by taking back ice water and “then straightaway throws back slugs of hot coffee” (111). There is nothing pleasurable about chugging hot coffee and yet Big Guy takes pleasure in this ritual. Furthermore, with the exploration into the relationship of pleasure and pain, there is the big theme of mortality in the play, as the narrator’s dad has been dead for most of her life and Big Guy is dealing with the recent death of his mother. Big Guy finds comfort with the motherly attributes that the narrator’s mother portrays and clings to being the man of their home as the narrator describes it as feeling like a real family.

Big Guy continues to explore with the connection between pleasure and plain when the narrator teaches him to sew. Upon his completion of learning, he sews the narrator’s name into his skin. Hempel uses beautiful language to describe the odd and somewhat gross process, “blue thread that trails like a vein and turns milky as it tunnels through the bloodless calloused skin” (115). As Hempel shows this comfort from pain, she describes it in a way that I’d never think to do, it’s beautiful and allows the reader to realize why this pain might give Big Guy an aid of comfort. It is evident that the narrator is attracted to Big Guy from the beginning. When they go to the party, there is more beautiful imagery in an unlikely place when they decide to dance together, “and the hand that is at the small of my back catches as it slides across the silk of my good new dress…It’s the dry, jagged skin form where he pulled my threaded name out of the place where he had sewn it” (118). That sentence is my favorite in the story because it expresses so many feelings of the narrator. The narrator doesn’t care that he is nicking her new dress because it is from a place where she was a part of him, it is almost comforting for her to think of that when it catches on her dress.

Finally, there is the last scene of the short story when the two of them go back to her house and no one is there. There is a brief moment of casual mortality as the two of them watch the moth in her refrigerator die, with only a brief moment of trying to help the insect. The way that Big Guy shuts the mosquito into the drawer without explanation is perhaps a way that he wants to make death something more casual and since they tried to help the moth and it didn’t work, he shuts the drawer  and aids in the mortality of the insect. Big Guy then takes a razor blade to all of the narrator’s mosquito bites, making the bites stop itching but provoking an idea of pain with the razor blade on her skin. The narrator gets even more out of this action, when he decides to kiss her. The kissing leads to more on the couch and there is such eerie and unsettling imagery when they are making out on the couch, “we take the length of the couch, squirming like maggots in ashes…I am bleeding through my clothes from the razored bites when Big Guy pushes his knee up between my legs” (121). The narrator is taking pleasure, once again from perhaps giving him something during his time of coping and pain. They are both getting some kind of comfort with one another and the reader is evident of this feeling that there is pain provoking their actions in the end, and that is perhaps where this eerie feeling comes from. Hempel does a wonderful job of giving the reader a feeling of uneasiness by the relationship that is shown in the story with the way they cope, or try to cope with death.

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