Woven into the twisted short story by Joyce Carol Oates “Where Are You Going, Where Have You Been?” stands a figure of demonic proportions; a man whose mere presence develops into an ominous fear, bringing with him a thickness of anxiety and an eerie sense of premature death. While her parents are away on a Sunday afternoon, Connie is approached by a strange man named Arnold Friend who is determined to seduce her and steal her away. Rather than use force, Arnold Friend insinuates his way into Connie’s mind and subdues her vulnerable and emerging sexuality. In the end, Oates indicates that he leads her to her death, whether spiritual or physical, and that his love is empty, but she is powerless against him. Within this novella lies a battle of wits between a young girl and a demonic man who is the metaphorical illusion of a fate – the fate of isolation and death.
The sense of dread is explored through the extensively symbolic use of a third person, past tense narration. The omniscient style of writing reflects irrevocable doom and that Connie, the protagonist, faces her inevitable fate. This destiny is the launch point from which Oates begins to unravel her insidious tale of a young girl who is too naïve to fully comprehend the dangers that lurk within this world.
Connie is revealed to be immature and vain from the beginning. She has a “quick nervous giggling habit” of craning her neck to glance into mirrors and checking other people's faces to see if her own face is fine (Oates 584). She is illustrated as having a two-sided personality. She smirks and laughs “a cynical and drawling laugh” at home, but she is high-pitched and nervous everywhere else, and speaks in a “high, breathless, amused voice” that has people doubt her sinc...
... middle of paper ...
...4.1 (1987): 62. Academic Search Complete. Web.
3 Nov. 2013.
Kennedy, X. J., and Dana Gioia. "Everyday Use." An Introduction to Fiction. 11th ed. Boston:
Longman, 2010. 584 – 95. Print.
Korb, Rena. "An overview of “Where Are You Going, Where Have You Been?”."Short Stories for Students. Detroit: Gale, 2002. Literature Resource Center. Web. 3 Nov. 2013.
Urbanski, Marie Mitchell Olesen. "Existential Allegory: Joyce Carol Oates 'Where Are You
Going, Where Have You Been?'." Studies in Short Fiction (Spring 1978): 200-203. Rpt. in Contemporary Literary Criticism. Ed. Dedria Bryfonski. Vol. 11. Detroit: Gale
Research, 1979. Literature Resource Center. Web. 3 Nov. 2013.
Wagner-Martin, Linda. "Where Are You Going, Where Have You Been?:
Overview." Reference Guide to Short Fiction. Ed. Noelle Watson. Detroit: St.
James Press, 1994. Literature Resource Center. Web. 3 Nov. 2013.
Walker, Alice. "Everyday Use." Literature for Composition. Ed. Sylvan Barnet, William Burto, and William E. Cain. 10th ed. New York: Pearson, 2014. 1125-1131. Print.
"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 intrigues readers in her fictional piece “Where Are You Going, Where Have You Been” by examining the life of a fifteen year old girl. She is beautiful, and her name is Connie. Oates lets the reader know that “everything about her [Connie] had two sides to it, one for home, and one for anywhere but home (27). When Connie goes out, she acts and dresses more mature than she probably should. However, when she is at home, she spends the majority of her time absorbed with daydreams “about the boys she met”(28). This daydreaming behavior is observable to the reader throughout the story. From theories about dreams, theories about subconscious thought, and the clues that Oates provides, the reader is lead to believe that Connie’s experience with Arnold Friend is a nightmare used to awaken her to the consequences that her behavior could result in.
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).
Friend lies in Connie’s blindness; she misses what any reader could easily miss. Through Oates’
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
In both ‘Eve Green’ and ‘Wide Sargasso Sea’, the protagonists experience fear in many guises. Although traumatic events in both Eve and Antoinette’s lives do lead to moments of sudden, striking fear, fear is also presented as having the potential to be subtle and muted, and therefore, “haunting”. Fletcher and Rhys seem to suggest that this form of fear is more damaging to the psyche than fear in its more conspicuous manifestations, as it is more deeply intertwined with the characterisations of the protagonists, therefore allowing for the fear to “pervade” the novels. As a result, it could be argued that fear has an almost constant presence in each novel, particularly because fear is seemingly linked to other prominent themes in each novel.
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).
Joyce Carol Oates' short story "Where are you going? Where have you been?" 'runneth over' with Biblical allusion and symbolism. The symbols of Arnold Friend, his disguise, and the music that runs through the story contribute to an overall feeling of devilishness, deception, and unease.
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.
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
Walker, Alice. “Everyday Use.” Robert DiYanni, ed. Literature: Reading Fiction, Poetry, and Drama. 6th ed. Boston: McGraw-Hill, 2007.
Schakel, Peter J., and Jack Ridl. The "Everyday Use." Approaching Literature: Writing, Reading, Thinking. Boston: Bedford/St. Martin, J.
Walker, Alice. "Everyday Use." Literature: An Introduction to Fiction, Poetry, and Drama. Sixth edition. Eds. X.J. Dennedy and Dana Gioia. New York: Harper Collins, 1995.