Joyce Carol Oates’s short story “Where Are You Going, Where Have You Been” narrates the story of a teenage girl, Connie, who is depicted as being young and fun-seeking. This story cautions us of the inherent danger to children that strangers pose, a lesson that many parents strive to inculcate their children with through cautionary fairytales emphasizing the mantra - Don’t Talk to Strangers! Connie, Oates’s protagonist is naive and portrayed as a girl who is exploring her independence. Connie encounters an evil villain, Arnold Friend, reminiscent of villains in such stories as “The Pied Piper of Hamelin”, “Hansel and Gretel”, “Little Riding Hood” and “The Three Little Pigs”. While the overriding theme in this story is “coming of age”, the underlying message and setting parallel the framework of the aforementioned fairytales. This essay identifies and discusses the similarities between Oates’ short story with the themes, characters, and events of the identified fairy tales.
In the fairy-tale, “The Pied Piper of Hamelin”, we can draw comparisons with Oates’ story when a stranger lures the town’s children from the safe confines of their homes with his flute and kills them by locking them in a cave. This stranger is likened to Arnold Friend who speaks to Connie “in a simple lilting voice, exactly as if he were reciting the words to a song” (510). In both Oates’s story and the fairytale children are lured to their doom by beautiful music which is masking evil behind its hypnotic allure. The approach of telling a precautionary tale is often used to teach personal safety skills and encourage children to obey the rules parents set. A strong unifying message highlighting youth falling prey to a compellingly evil force is evident in bot...
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...elements beyond he dreamlike surreal fairy settings and tone. Characters, themes and events in each fairytale parallel those found in Oates’s short story. Young innocent protagonists and seductive evil forces. The lure of evil disguised as salvation and independence leading to a forced awakening. The themes of evil vs. purity, rites of passage, the constant possibility of danger and the deep bonds of family. In the final analysis, when Connie chooses to leave with the evil villain Arthur Friend we can’t help to feel if she had simply practiced the mantra, Don’t Talk to Strangers she would not be facing violence and death.
Work Cited
Oates, Joyce Carol. “Where Are You Going, Where Have You Been? “Literature: Reading, Reacting, Writing. Compact 8th ed. Ed. Laurie Kirszner and Stephen Mandell. Boston: Thompson Wadsworth, 2013. 505-516
"Connie, don't fool around with me. I mean—I mean, don't fool around," he said, shaking his head. He laughed incredulously. He placed his sunglasses on top of his head, carefully, as if he were indeed wearing a wig…” (Oates 6). Joyce Carol Oates’ short story “Where Are You Going, Where Have You Been?” highlights an altercation, meeting, conflict and dispute between a teenage girl, named Connie, and a psychotic rapist named Arnold Friend. Throughout their altercation, Arnold Friend tempts and encourages Connie to get in the car with him and lead her to a variety of possible dangerous situations, one of which includes her getting raped . There is no doubt that Joyce Carol Oates’ uses Arnold Friend in her short story “Where Are You Going, Where Have You Been?” to symbolize the Devil and embody all of the evil and sinister forces that are present in our world. This becomes apparent when the reader focuses on how deranged Arnold Friend is and begins to
Joyce Carol Oates’s short story “Where Are You Going, Where Have You Been?” clearly illustrates the loss of innocence adolescents experience as they seek maturity, represented by Connie's dangerous encounter with Arnold Friend. Connie symbolizes the many teens that seek independence from their family in pursuit of maturity. Connie’s great desire to grow up is apparent from the beginning of the story, as she experiments with her sexuality. However, it is clear that Connie is not interested in pursuing a relationship, but relishes the maturity she feels after being with the opposite sex. After following a boy to his car, she was “gleaming with a joy that had nothing to do with Eddie or even this place” (2). This suggests that Connie's exploits
...tomy between reality and dreams quite well throughout her piece. She provides the reader with two ways to experience the story: either as reality or as reality that turns into a nightmare. This dichotomy that Oates creates “allows the reader to escape this story, and allows this story to end” (Hurley 374). The end of the story shows Connie entering the new world of experience, and Oates wants the reader to sense her fear. Oates intricately provides the reader with clues that help see why Connie’s experience with Arnold is just a nightmare. She also allows the reader to see how this nightmare is meant to scare Connie into making the realization that her decisions have consequences. I hope that anyone reading this learns from Connie that not everything we do is good for us, and we have to think about the consequences of our actions, whether good or bad, before we act.
Oates, Joyce Carol. "Where Are You Going, Where Have You Been?" Exploring Literature: Writing and Arguing about Fiction, Poetry, Drama, and the Essay. By Frank Madden. 5th ed. New York: Pearson Longman, 2012. 436-48. Print.
* Wegs, Joyce M. "'Don't You Know Who I Am?' The Grotesque in Oates' 'Where Are You Going, Where Have You Been?'" Critical Essays on Joyce Carol Oates. Ed. Linda W. Wagner. Boston: G. K. Hall 1979.
Oates, Joyce Carol. Where are You Going, Where Have You Been? N.p.: Epoch, 1966. N. pag. Print.
Oates is accused of "producing too much" (676). This story is no different. Her exposition is painstaking. She sets the scene by making the main character and protagonist, Connie, parallel to an average girl in the sixties. Oates' narrator introduces Connie using elements of description which puts emphasis on the vanity of the main character. Connie's mother is quickly introduced and is used by the narrator to reveal how much disdain her mother has for her vanity. The narrator uses the main character's mother to introduce her sister, June. One is led to believe that sibling rivalry is one of the many causes that lead to the demise o...
”Where Are You Going? Where Have You Been?” is a short story written by Joyce Carol Oates, which explores the life of a teenage girl named Connie. One of the issues this story divulges is the various stresses of adolescence. Connie, like so many others, is pressured to conform according to different social pressures, which displays the lack of respect female adolescents face. The music culture, young men, and family infringe upon young female minds to persuade them to look or act in certain ways, showing a disrespect for these girls. While some perhaps intend their influence for good, when put into practice, the outcome often has a negative effect. Moreover, this can lead young women to confusion and a lack of self-respect, which proves
The overuse of biblical allusions throughout the story helps to expose the naive nature of Connie that reveals her as a victim of evil which shows that lust often transgresses on an individual’s identity. In “Where Are You Going, Where Have You Been,” Joyce Carol Oates expressed the subjective ideas by symbolizing Arnold Friend as a devil that tempts a clueless teenage girl Connie, who wanted to experience love.
Oates, Joyce Carol. “Where Are You Going, Where Have You Been?” Celestial Timepiece. July 2007. U of San Francisco. 15 Mar. 2008.
Oates, Joyce Carol. Where Are You Going, Where Have You Been? Backpack Literature. Upper Saddle River, New Jersey: Pearson Education, 2010. Print.
Gale Kozikowski, Stan. " The Wishes and Dreams Our Hearts Make in Oates's 'Where Are You Going, Where Have You Been?'. " Journal of the Short Story in English. 33 (Autumn 1999): 89-103.
Oates’ use of the way Arnold looks and acts so similar to the devil, her use of the words on the car meaning something foreign and her subtle symbolism with Connie’s attire make the story’s theme of evil and manipulation stand out so much more. Connie’s clothing symbolizing
Fairy tales portray wonderful, elaborate, and colorful worlds as well as chilling, frightening, dark worlds in which ugly beasts are transformed into princes and evil persons are turned to stones and good persons back to flesh (Guroian). Fairytales have long been a part of our world and have taken several forms ranging from simple bedtime stories to intricate plays, musicals, and movies. However, these seemingly simple stories are about much more than pixie dust and poisoned apples. One could compare fairytales to the new Chef Boyardee; Chef Boyardee hides vegetables in its ravioli while fairytales hide society’s morals and many life lessons in these outwardly simple children stories. Because of this fairytales have long been instruments used to instruct children on the morals of their culture. They use stories to teach children that the rude and cruel do not succeed in life in the long run. They teach children that they should strive to be kind, caring, and giving like the longsuffering protagonists of the fairytale stories. Also, they teach that good does ultimately defeat evil. Fairy tales are not just simple bedtime stories; they have long been introducing cultural moral values into young children.
For centuries, fairytales have been used for instruction; to teach children what is expected of them as they age and what terrors behold them if they do not comply with the guidelines laid out for them by their culture/society. Many of the tales were purposely frightful in order to scare children away from strangers, dark corners, and traveling off the beaten path into the dark thicket. Charles Perrault first began writing fairy tales in the late 17th century to educate his children. The morals of those tales often center on what is expected of young women; that they should remain ‘pure’ and ‘docile’. He wrote the tales in a time period when fairytales or ‘jack’ tales were looked at as instructional lessons. They were also widely told around the fire, as entertainment, for adults. Angela Carter adapted Perrault’s classic tales in the 1970’s; changing the victim...