The Devil in Joyce Carol Oates' "Where Are You Going, Where Have You Been?"
Her name is Connie, and she is not unlike many girls of the time she lives in. She is vain, she is constantly at war with her family, and she is in an incredible rush to grow up. Her race to maturity is the trait focused on in Joyce Carol Oates' "Where Are You Going, Where Have You Been." It splits Connie into two different personalities: 'One for home, and one for anywhere that was not home' (431). Everything about her?her walk, her smile, and her laugh?metamorphoses as soon as she steps out the front door. The child is hidden, the seductive young woman emerges, and the world of the ?big kids? is more than willing to take her in. This world is what she thinks she wants, until the day a shiny golden convertible pulls into her driveway and the the mysterious Arnold Friend emerges.
Through Arnold Friend, Connie learns that her rush to grow up is foolish and that she is trying to jump into a world that she knows nothing about and that could be potentially dangerous. She ultimately releases her dream and clings to her family as never before, realizing that their firm grasp on her is not for their benefit, but her own. Joyce Carol Oates?s vivid description of Arnold Friend carries the most emotional freight, as the evil behind his apparent glamor brings about Connie?s change. Though he takes the outer appearance of a normal boy, everything about his behavior suggests that he is the Devil himself in disguise.
The most obvious aspects of Arnold Friend that suggest that he is the Devil in disguise are his physical features. For example, several references are made to the abnormality of his feet. As he walks about, he stumbles...
... middle of paper ...
...s images of Arnold Friend, suggesting that he is the Devil in disguise, make the story both moving and successful. Connie?s fright at the face of the Devil is shared by Oates?s audience, making it easier for them to understand both the emotional impact of her struggle and the gravity of the lesson being taught by the story: things are not always as they seem. Connie?s fright at the discovery of Arnold?s true nature is comparable to Eve?s fright at the awareness of good and evil. Connie jumped into a world that was as appealing to her as the serpent?s shiny red apple was to Eve, only to discover that everything beyond the savory exterior was fraught with venomous poison.
Reference
Oates, Joyce Carol, ?Where Are You Going, Where Have You Been?? reprinted in X.J. Kennedy?s Literature: An introduction to Fiction, Poetry, and Drama, 5th ed (Harper Collins, 1991).
The story Where Are You Going, Where Have You Been? by Joyce Carol Oates is about a fifteen year old girl named Connie who has a strange encounter with a man named Arnold Friend. I agree with Joyce M. Wegs' interpretation of the story, that Arnold is symbolic of Satan.
Connie knew that as long as she stays inside she will be safe; however, she can’t turn away from the temptations that Arnold is offering. The more Connie resists, the more frustrated, impatient, and aggravated Arnold becomes. It is then that Arnold introduces a diabolical symbolism when he says “I ain’t made plans for coming in that house where I don’t belong but just for you to come out to me, the way you should. Don’t you know who I am?” (Oates 173). In that statement, Arnold symbolizes a creature that possesses supernatural powers, having the ability to dominate Connie by addressing her in a demeaning way. Arnold, at this point in the story beings to take form into a being that must make himself appear more significant than anything or anyone that’s important in Connie’s life
Arnold Friend is similar to Satan in his characterization provided by Joyce Carol Oates. Arnold Friend disguises himself in ways to hide all his negative features from Connie, as he seems less threatening this way. Urbanski writes, “His features appear more ominous, his hair like a wig, his slitted eyes ‘like chips of broken
Oates uses plot to build up to Arnold Friend’s unexpected arrival. In the short story, “It was a boy with shaggy black hair, convertible jalopy painted gold [...] without Eddie noticing anything” (Oates 1). Connie is walking with Eddie to his car when she sees Arnold. Arnold made his sign, the X, the first letter of the Greek word for Christ. Coincidence? One would think not, although others agree in this sense. From a critic who has the same views, “And if Arnold Friend is not satanic [...] golden ‘machine’” (Tierce and Crafton 2). When Connie notices Arnold pulling up to her house in her jalopy, she whispers “Christ, Christ,” watching him pull up and fixing her hair. But she could also be watching a messiah pull up in a golden chariot, proving the point of
...arie Urbanski believe that Connie leaves with Arnold Friend because she is, ‘’bowing to absolute forces which her youthful coquetry cannot direct-absolute forces over which she has no control’’ (Clifford). To sum up, Joyce Carol Oates presents an image of young women who are insecure, hopeless and rebel against the norms of society. Those kinds of girls like Connie continue to exist in society and the shadow of people like Arnold Friend is always nearby for such women.
...nie receives little attention at home and therefore craves attention from boys. Teenagers at Connie's age search for connections and companionship while evolving into young adults, discovering the powers of independence. Connie is searching for the good in Arnold as she is enjoying the attention he gives her. It is possible that in this state of wonder, Connie may not realize she is in danger until control over the situation is lost. Readers are left waiting for Connie to be rescued, fighting for her to be safe. One would like to think that she should have and could have gotten out of the situation had she not have been so naïve. However, the fear and anxiety Joyce Carol Oates portrays through Connie's character leaves Connie unable to protect herself from harm. Although this may seem unreasonable, could you be absolutely sure of what you would do in such a situation?
The devil tends to prey on an individual’s weakness. Arnold Friend does this with strong emphasis. Connie, not having a strong male figure in her life with her father being described as, “just coming home and not doing anything” looks to play up to Arnold Friend clever swagger with a deceptive plan (Oates). Friend says, “Ellie and I come out here especially for you” (Oates). Connie Father looked to hardly ever take time out of his day to spend time with his daughter but somehow Arnold knows that her time is being spent at home alone. Ellie and Arnold just avail out of the sunlight at Connie’s house seemingly to fill this void. Worse of all Arnold exudes this confidence that she will come with him no matter what. This also may be from Connie’s vanity that gets her into trouble with a withdrawing demeanor of other’s. Never spending time with her family; However, more excepting of others. Suddenly, Drawing Arnold Friend to take advantage of a missing companionship in Connie’s life.
Rubin attempts to convey the idea that Connie falls asleep in the sun and has a daydream in which her “…intense desire for total sexual experience runs headlong into her innate fear…” (58); and aspects of the story do seem dream like - for instance the way in which the boys in Connie’s daydreams “…dissolved into a single face…” (210), but the supposition that the entire episode is a dream does not ring true. There are many instances in which Connie perceives the frightening truth quite clearly; she is able to identify the many separate elements of Friend’s persona - “… that slippery friendly smile of his… [and] the singsong way he talked…” (214). But because of the lack of attachment with her own family, and her limited experience in relating deeply to others, “…all of these things did not come together” (214) and Connie is unable to recognize the real danger that Arnold Friend poses until it is too late.
Each of us is inherently conditioned into a particular way of life by our community and the politics that govern such a society. At any current time, the organization of political principles, such as democracy or distributive justice, has been a predetermined result. We blindly accept that our ancestors were correct and ignore the possibility of objections. Yet, this is a grave mistake, especially considering the fact that our lives and the way society is organized are so intertwined. This means “we cannot avoid thinking of our political practices as alterable, and even (if only in retrospect) as possible objects of choice” (Bird 3). To some, one of the “alterable” political practices of distributive justice, in Socialist Equality of Opportunity (EOP), may seem extreme. The word Socialism has developed into a “meaningless word” that serves as a synonym to tyranny (Orwell 4). Yet, a specific form of socialism, equality of opportunity, has many merits over common, currently practiced systems and should be considered as a legitimate ideal for distributive justice. To realize the aforementioned thesis it is important to first define equality of opportunity. Within the definition, many reasonable objections will surface, but through disputing common theories on distributive justice, it will be relatively simple to recognize the following: EOP is the most rational form of distributive justice given the inherent nature of society, it eliminates a vast number of inherent inequalities, and is the most efficient form of distributive justice if equality of opportunity can be granted.
Oates shows archetypes throughout the story. The symbolic archetype shown is “the friendly beast” or “the tempt”. The friendly beast, of course, would be Arnold Friend; Arnold never hurts or does anything to Connie, he just tempts her by saying, “we’ll drive away, have a nice ride.” The temptation for Connie is that she wants to grow up, get away from her family and live her own life. Although, Connie is very ignorant; Connie believes her looks will get her very far in life, but what she doesn’t realize is that ignorance does not equal bliss. In The Sitting Bee Dermot McManus talks about how Connie struggles with independence and how she wants to do things on her own. McManus says “that Connie still relies on others to take her home and other things, and how
"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
The most ubiquitous allegory found in the piece is seen in the relationship held between Connie and Arnold Friend, which has a religious nature about it. In the same way that the Devil manipulated and convinced Eve to take the apple, Arnold has a rather cogent way of persuading Connie to leave her house and join him. The “sweet talk” that Arnold employs on Connie is the equivalent to the temptation of the Devil when he lured Eve into taking the apple. Another strong comparison in the aforementioned allegory is the similarities found between the Devil and Arnold. “I know your name and all about you, lots of things” (Oates par. 48). Arnold’s all-knowing perspective of Connie is synonymous to the Devil’s total knowledge of Eve. Oates uses this rather powerful allegory to depict the dangerously unpredictable vulnerability of Connie. By ending the story in the manner in which Oates did, she reveals her resentment for Connie’s vulnerable nature that could have ceased to exist had Connie taken the initiative to establish her
In her famous short story, “Where Are You Going, Where Have You Been,” Joyce Carol Oates shows the transition from childhood to adulthood through her character Connie. Each person experiences this transition in their own way and time. For some it is leaving home for the first time to go to college, for others it might be having to step up to a leadership position. No matter what, this transition affects everyone; it just happens to everyone differently. Oates describes Connie's unfortunate coming of age in a much more violent and unexpected way than the typical coming of age story for a fifteen year old girl.
An organization’s Corporate Social Responsibility (CSR) drives them to look out for the different interests of society. Most business corporations undertake responsibility for the impact of their organizational pursuits and various activities on their customers, employees, shareholders, communities and the environment. With the high volume of general competition between different companies and organizations in varied fields, CSR has become a morally imperative commitment, more than one enforced by the law. Most organizations in the modern world willingly try to improve the general well-being of not only their employees, but also their families and the society as a whole.
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