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Connie’s Context Overview The author Joyce Carol Oates was born on the 16th of June 1938 and struggled economically during the period of great depreciation. In her story ‘Where Are You Going, Where Have You Been?’ revolves around the 15th-year-old Connie who is more preoccupied with aspects related to her appearances. In most cases, she spends time admiring herself and comparing her face with others. Influenced by her mother, she is required to be neat just like the elder sister. She ends up avoiding her mother’s questions regarding the boys she meets. As the boys continue talking with Connie, she tries to avoid him claiming that she doesn’t know him. His name is Arnold Friend (Oates 1). Character Analysis The character Connie depicts a young girl who cultivates her personal appearance and sexual aspects which only flourishes when she is away from her home and family (Gale Connie struggles to work hard and prove her maturity. However, her love for boys and pretty clothes makes her not mature enough as she believes. She is in fact attracted to old men, but when Arnold pays an explicit sexual attention to her, she gets terrified with the act. She actually understands less in relation to maturity. She understands little concerning maturity and adulthood, that is why Connie prefers to lose herself in the rosy ideas related to romance and pop songs which she promotes. When Arnold comes to the house and overpowers her, she proves childlike by crying out for her mother. “She cried out, she cried for her mother, she felt her breath start jerking back and forth in her lungs as if it were something Arnold Friend was stabbing her with again and again with no tenderness. A noisy sorrowful wailing rose all about her and she was locked inside it the way she was locked inside this house” (Oates
In “Where Are You Going, Where Have You Been?”, Oates wants to show a more intellectual and symbolic meaning in this short story. Oates has many symbolic archetypes throughout the short story along with an allegory. Oates uses these elements in her story by the selection of detail and word choice used. Oates does this because she wants to teach her audience a moral lesson.
First of all, Connie was not happy at home. The story says that her father "was away at work most of the time," and "didn't bother talking much to them," so Connie didn't have love from him and had to find male attention somewhere else. Connie found her happiness in escaping with her friend to the drive-in restaurant and daydreaming about boys. But the happiness she found in both of these things had nothing to do with actual events; it is based on a fantasy. When she was out at the drive-in with a boy, her face gleamed "with the joy that had nothing to do with Eddie or even this place; it might have been the music." When she daydreamed about boys, they all "fell back and dissolved into a single face that was not even a face, but an idea, a feeling mixed up with the urgent pounding of the music..."
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).
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 changes how she acts based on where she is. INTRODUCE QUOTE “Everything about her had two sides to it, one for home and one for anywhere that was not home” (Oates 1). Connie acts one way at home because her family is constantly comparing her to her sister. She goes out with her friends so she can be her own person. Connie looks forward to being an adult and likes having
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”
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
Connie conveyed herself as attractive, youthful, promiscuous and mature. She loved attention from boys and loved being able to reject them. She found enjoyment in deceiving her parents, flirting with boys and gussying herself up. Because this is a story about Connie, she is the hero. Although she ends up submitting to the villain, Arnold, she can be viewed as heroic for her obedient personality in order to ensure her family’s safety. Her childish and immature manner is revealed when she is confronted by Arnold and adulthood. This is demonstrated in her reactions to sex, “She put her hands up against her ears as if she'd heard something terrible, something not meant for her. "People don't talk like that, you're crazy,"“(Joyce Carol Oates page 6). The topic of sex is casual for adults but Connie finds the topic vulgar and felt completely out of place having a conversation about sex with an older man. She also does not realize how normal the topic of sex is because of her age. This implies she is much more childish than she perceived herself to be. Since the forceful experience she went through with Arnold, Connie now knows she was never too
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
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).
That all changed her mind when “Arnold Friend”, her creepy stalker, finds her and harasses her in front of her home. At first she did not know what to expect from the man and she did not know what his intentions were, he was creepy and seemed to be. Soon she realized that death was coming her way as Arnold Friend gave her no choice but to go in the car with her and her good looks would not be able to save her out of this situation. She began to slowly regret of all the fights with her mother, and not spending enough time with her family. Connie eventually realized what was important in life and what should have mattered to her. Connie, who was once so selfish and conceited, was now wishing she would have gone to her family BBQ or just see her mother one more time. She had no choice but to go with Arnold Friend. Her life was in jeopardy and her kidnapping, rape. This shows that when your life comes to its end, Connie started to have a lot of regrets and realized what the important things in life were. Unfortunately Connie had these realizations when it was too late and her life came to an end.
In Joyce Carol Oates’ short story “Where are You Going, Where have You Been?” In this story, there are two characters who stands out the most. They were Connie and Arnold Friend. Connie was a fifth teen-year-old girl who thought she had the world all figured out and some. But, once Connie met a guy named Arnold Friend he changed her whole perception of what is true reality versus imagination. Arnold seemed like someone who took advantage of women and used them for their needs. Throughout the story, Arnold Friend seemed like a smooth charmer towards a fifth teen-year-old girl. Connie was just like any young girl who thought they knew everything about life and ready to live life. Throughout they story Connie was mostly an adolescent, naïve, and
Arnold then appears at Connie’s house and she notes that “the driver’s [Arnold’s] glasses were metallic and mirrored everything in miniature” (980); perhaps this is the allure of freedom that Connie sees in him, but as the story progresses, the sunglasses begin to inhabit an ominous future as opposed to the initial context. She remains under his constant stare and is subsequently controlled by this. Urbanski even touches on this recurring motif in the story, stating that “she [Connie] is unable to make a telephone call for help because he is watching her; she bumps against a piece of furniture in a familiar room; and when he commands her to do what would otherwise seem an irrational act, to place her hand on her heart to understand its flaccidity, she readily obeys” (Urbanski 2). The next recurrence of looking is in the second to last paragraph of the story where the existential allegory comes to fruition: “She watched herself push the door slowly open as if she were back safe somewhere in the other doorway, watching this body and this head of long hair moving out into the sunlight where Arnold Friend waited” (Oates 989). Perhaps it is in this moment that Connie recognizes herself and is able to step outside of the lighthearted story of a teenage girl experiencing the perils of coming-of-age and “not simply surrendering her virginal innocence, but bowing to absolute forces which her youthful coquetry cannot direct—absolute forces over which she has no control” (Urbanski
Music acts as a bridge between the physical world, where she is constantly fighting with her parents and sister, to a fantasy world where she is in control of whatever happens. Oates takes this even further though portraying the incident with Arnold Friend as neither quite reality nor fantasy. Oates fills Connie’s head with ideas taken from the songs on the radio about love and boys and in general just being a teenager. When she finds herself in a situation with Arnold, her knowledge about attraction fails her. No longer is it the romantic words that are in her favorite song but instead a creepy old man looking at her like prey. **analyze song lyrics??** Arnold demonstrates a sort of omniscient presence in the story by knowing every little detail of Connie’s life, including what her family was wearing that day when they were at the barbeque. He seemed to know about all of her family members, not just her mother, father, and sister. He also asked about one of her neighbors. Knowing all this stuff makes
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.