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Analysis essay where are you going, where have you been? by joyce carol oates
Analysis on where are you going where have you been by joyce carol
Where Are You Going, Where Have You Been by Joyce Carol Oates analysis
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Joyce Carol Oates’s “Where Are You Going, Where Have You Been?” tells the tale of a fifteen year old girl named Connie living in the early 1960’s who is stalked and ultimately abducted by a man who calls himself Arnold Friend. The short story is based on a true event, but has been analyzed by many literary scholars and allegedly possesses numerous underlying themes. Two of the most popular interpretations of the story are that the entire scenario is only dreamt by Connie (Rubin, 58) and that the abductor is really the devil in disguise (Easterly, 537). But the truth is that sometimes people really can just be in the wrong place at the wrong time. Connie, a victim of terrifying circumstance will be forever changed by her interactions with Friend. Oates drew the character of Connie very well - she possesses many of the qualities that teenaged children share. According to developmental psychologists, adolescents become highly critical of siblings, and peer relationships take precedence over familial ties during these years (Feldman, 455). These traits are apparent in Connie’s unflattering description of her older sister June, “…she was so plain and chunky…” (209) and the fact that Connie spends many nights out with friends, but refuses to attend an afternoon picnic with her family (211). In addition, a teenager’s feelings of self worth are dependent upon the approval of others. Connie displays this as she practices “…checking other people’s faces to make sure her own was all right” (208). And of course there is also the explosion of hormones and corresponding sexual urges and fantasies. Oates makes all of these characteristics clear in her descriptions of Connie’s actions, thoughts and feelings. 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.
due to her family leaving to attend a barbeque. Like Chet, Connie also has to rely on herself to overcome her obstacles, such as the threatening Arnold Friend. Stegner and Oates both use this plot point in order to establish that their characters cannot rely on their family for help or protection, which emphasizes their transition to adulthood. In Stegner’s depiction, the purpose seems to be the successful overcoming of obstacles that a child, specifically a boy, has to go through in order to become a man.
"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.
In the story, Oates presents the main character, Connie, as a somewhat bratty teenager that does not have a close relationship with her mother or sister. Her mother shows envy towards her daughter making comments to her such as, “ Stop gawking at
Connie is only concerned about her physical appearance. She can be described as being narcissistic because "she had a quick, nervous giggling habit of craning her neck to glance into mirror or checking other people's faces to make sure her own was all right" (Oates 148). Connie wants her life to be different from everyone else's in her family. She thinks because she is prettier, she is entitled to much more. She wants to live the "perfect life" in which she finds the right boy, marries him, and lives happily ever after. This expectation is nothing less than impossible because she has not experienced love or anything like it. She has only been subjected to a fantasy world where everything is seemingly perfect. This is illustrated in the story when Connie is thinking about her previous encounters with boys: "Connie sat with her eyes closed in the sun, dreaming and dazed with the warmth about her as if this were a kind of love, the caresses of love, and her mind slipped over onto thoughts of the boy she had been with the night before and how nice he had been, how gentle, the way it was in movies and promised in songs" (151).
Initially, Oates portrays Connie as an extremely conceded young woman. "She was fifteen and she had a quick nervous habit of craning her neck to glance into mirrors or checking other people's faces to make sure her own was all right." Oates set the tone for Connie's character by that statement alone. It was obvious that Connie was a pretty girl but what was more obvious is that Connie knew it. Connie's conceded quality was first revealed as she "gawked" at herself in a mirror to the point where it angered her mother. I imagine Connie's mother was probably talking to her and realized she was not paying attention to anything she said, fascinated by the reflection.
In the short story, Connie is a young, naïve, sassy, little girl who hates her mom and sister. According to Oates, “Connie wished her mother was dead” (324). Connie enjoys going out with her friends and going to a drive-in restaurant where the older kids hang out. Connie is innocent, but thinks about love and sex. She is desperate to appeal to boys and succeeds at it when a boy with shaggy black hair says to her, “Gonna get you, baby” (325). Her encounter with this boy will change her life forever, because he is the antagonist that influences Connie’s loss of innocence. On a Sunday afternoon, the boy, Arnold Friend, visits Connie and asks her to come for a ride, which she declines. But, Arnold Friend won’t take “no” for an answer and threatens to go in the house. For example when Connie says she will call the cops, Arnold says “Soon as you touch the phone I don’t need to keep my promise and come inside”
Arnold Friend’s layers of deception. Connie’s blindness is the pretext of her loss of innocence
Joyce Carol Oates begins the story Where Are You Going, Where Have You Been by addressing Connie’s “habit of craning her neck to glace into mirrors or checking other people’s faces to make sure her own was all right” (316). This is interesting because when Connie’s personified death, Arnold Friend, arrives honking at her driveway, her very first instinct is to check and see how her looks. This later plays a role when Friend asks if she would like to go for a drive in his topless car where her hair will be blown around. To Connie, “gawking” (316) herself, was a form of making herself feel high and beautiful but she had two sides of doing everything, “one way when she was at home and another way when she was away from home,” (317). Linda Wagner
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...
Being sexualized by the boys around her, Connie is self-conscious and finds her worth in beauty. The story even states, “She knew she was pretty and that was everything” (Oates 422). She is concerned about her appearance and what others think of her because she has been taught that she lacks any value outside of physical beauty norms. Arnold Friend, even tells Connie, “...be sweet like you can because what else is there for a girl like you but to be sweet and pretty and give in?” (Oates 432). Between this coaxing and the consistent message about the importance of beauty, Connie is nearly forced to conform to this mentality, which displays the lack of respect for young females as human beings. This in turn leads women to self-degradation as they are consistently viewed as sexual
Connie has the need to be viewed as older and as more mature than she really is, all the while still displaying childlike behavior. She shows this childlike behavior by “craning her neck to glance in mirrors [and] checking other people’s faces to make sure her own was all right” (Oates 323). This shows that Connie is very insecure and needs other people’s approval. Although on one side she is very childish, on the other side she has a strong desire to be treated like an adult. This longing for adulthood is part of her coming of age, and is demonstrated by her going out to “bright-lit, fly-infested restaurant[s]” and meeting boys, staying out with those boys for three hours at a time, and lying to her parents about where she has been and who she has been with (Oates 325, 326). “Everything about her ha[s] two sides to it, one for home and one for anywhere that was not home” (Oates 324). Even her physical movements represent her two-sided nature: “her walk that could be childlike and bobbing, or languid enough to make anyone think she was hearin...
Connie’s clothes and infatuation with her own beauty symbolize her lack of maturity or knowing her true self, which in the end enables her to be manipulated by Arnold Friend. Connie was enamored with her own beauty; in the beginning of the story Oates states that Connie “knew
"Her name was Connie. She was fifteen and she had a quick, nervous giggling habit of craning her neck to glance into mirrors or checking other people's faces to make sure her own was all right" (1). This quote shows the reader an astonishing truth about Connie. It shows her true insecurity that is rarely demonstrated to the outside world. Although she does not necessarily show this to the average bystander, by taking a closer look at her premature idea of acceptance, it also shows her constant yearn for approval from others to help boost her ego. At only the young age of fifteen, she is already attempting to prove her maturity and show that she can be independent. She does this by showing off her sexuality and strutting around. By showing off her