Arnold Friend Symbolism

Ryan Croucher

Dr. Benjamin Wright

Understanding Literature: ENG 101 - 15

5 February 2015

Analysis of Joyce Carol Oates’ Where Are You Going, Where Have You Been?

The theme of a literary work is, in my opinion, the most central and vital literary element to both recognize and comprehend. It is comprised of other elements, such as characterization, symbolism, imagery, tone, exposition, climax, conflict, and more. The theme is basically the end result of a complete understanding of a work of literature. In Joyce Carol Oates’ Where Are You Going, Where Have You Been? a theme is built around the actions and personalities of two main characters, Connie and Arnold Friend. Connie, the primary protagonist, longs to be free of the childhood she feels

trapped in. Friend, the antagonist, appears to offer that release in which Connie so badly desires. The conflict between these two characters is the main element that distinguishes the theme of this work. As a result of such a conclusion, it is the idea of reality versus fantasy that best exemplifies the main theme of this work.
In order to best understand this theme of reality versus fantasy, we must first study the entirety of the main characters at hand. Connie, our protagonist, is characterized as a common adolescent obsessed with the idea of becoming an adult. “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) Constantly, she bickers and argues with the rest of her family as she attempts to establish herself as a young woman. Like all teenage girls, she fantasizes of young love, heroic gentlemen and beautiful romance. Despite Connie’s optimism, she is eventually greeted by a darker reality that confronts her in a most sinister manner. This encounter, with antagonist Arnold Friend, is what shapes the theme of Oates’ work; the reality we live in greatly differs from the fantasy we dream of.
Arnold Friend is characterized as a sly, serpent-like and manipulative character.

His actions and mannerisms are all the above in terms of confusing, volatile and bizarre, yet they suggest something greater, something that both Connie and the reader cannot quite identify. Oates characterizes Friend by both his appearance and the items he owns and flaunts in the presence of Connie. For example, “It was an open jalopy, painted a bright paint gold that caught the sunlight opaquely,” and “the driver’s glasses were metallic and mirrored everything in miniature.” (4) Arnold’s car and, more specifically, his glasses, both serve as a symbolic representation of the theme at hand. As written, his sunglasses “mirrored everything in miniature,” (4) therefore they reduced Connie’s reality in order to blind her with a fantasy. In terms of the choices Joyce Carol Oates makes in representing his character, she decides on making it very clear that Arnold is in no way, whatsoever, a righteous individual.

Disregarding their apparent differences, Connie and Arnold share one relevant similarity. Both characters are actors in the sense that they put on a show for others to witness. Concerning

Connie:
“Everything about her had two sides to it, one for home and one for anywhere that was not home: her walk, which could be childlike and bobbing, or languid enough to make anyone think she was hearing music in her head; her mouth, which was pale and smirking most of the time, but bright and pink on these evenings out; her laugh, which was cynical and drawling at home . . . but high-pitched and nervous anywhere else . . .” (2)
Arnold on the other hand, utilizes his cunning and suave demeanor in order to obtain what he desires; however, his acting is not always convincing. For example, “Connie, you ain't telling the truth. This is your day set aside for a ride with me and you know it,” he said, still laughing. The way he straightened and recovered from his fit of laughing showed that it had been all fake.” (6) Arnold Friend’s skills of manipulation, word choice and dictation are what first intrigues Connie. Eventually however, his words fail him as Connie becomes more and more aware of the situation at hand. The personas of these two characters, along with Connie’s realization of Arnold’s motives, are both key factors in determining the theme of reality versus fantasy.
Indeed, both Connie and Arnold are two primary contributors to the short story’s theme.

That being said, there are other important factors involved in the build up of “reality versus fantasy.” Within, Where Are You Going, Where Have You Been? we see music play a major role within the plot of the short story. One would even be right to classify it as a symbol or a motif. For Connie, music, especially by Bobby King, connects two separate hemispheres, reality and fantasy. Concepts similar to this one exist all throughout Oates’ literary work. Arnold’s car for example, serves as a glamorous representation of the fantasy Connie imagines. “It was an open jalopy, painted a bright gold that caught the sunlight opaquely.” (4) Arnold’s car and his sunglasses share a similar purpose, to cloak the dark reality that Connie sees as fantasy. Only after Arnold reveals his true self does she recognize the gravity of her

situation.
The primary theme of reality versus fantasy is quite apparent throughout the entirety of Oates’ work, Where Are You Going, Where Have You Been. It appears in the exposition, the rising action, the climax, the falling action, and the resolution. The theme itself dictates the plot of this short story therefore it is right to credit it with the events that take place between the protagonist, Connie, and the antagonist, Arnold Friend. That being said, it is vital for the reader to recognize the influence that the idea of reality versus fantasy has in this work.