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Interpretation in literature
Essays on symbolism in literature
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The short story “Where Are You Going, Where Have You Been?” by Joyce Carol Oates is about a teenage girl, Connie, and her merge into adulthood. Until something almost unthinkable happens. She is confronted by an older boy at her home who gives her a crucial decision to make, save herself or her family. Joyce Carol Oates uses the fictional elements of symbolism, characters and conflict to create a theme of loss of innocence in her short story “Where Are You Going, Where Have You Been?”
Symbolism plays a big role in the themes of many stories. In “Where Are You Going, Where Have You Been?” it is a popular theory with my sources that Connie is in a dream during her encounter with the unspeakable Arnold Friend. Votteler suggests that from
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the story in paragraph 14, line 2 when the narrator says “bathed in a glow of slow-pulsed joy” (Oates 207) is an example of the dream state Connie is in. Oates also writes that when Connie wakes up from her nap that the backyard and the house look different. “When she opened her eyes she hardy knew where she was.” (Oates 207) from paragraph 12, line 2. “This line is the start of Connie’s horrible nightmare.” Benignity explains (Benignetti, “Critical Analysis..”). Connie still acts as a young girl, having nightmares of strange men coming to her home and threatening her. A few smaller examples of symbolism were in Arnold Friends character. Caldwell explains that Arnold Friends car is gold to appear friendly and enticing. As do his name on the car in “tar-like letter” to represent his luring ways and how easily Connie can get caught in them. Caldwell’s interesting theory is that the numbers 33, 19, 17 (Arnold’s secret code) represent the sexual reference ’69’. It’s these types of little tricks that women have to look out for especially as a young woman merging into adulthood. The characters in “Where Are You Going, Where Have You Been?” are a very important element in the story.
Connie is the focal point. At 15 she is merging into adulthood and exploring the dating world. Votteler believes she has a split identity, one is sexual and enticing around her friends and boys, the other is safe and proper around her family. “She is caught between her role as a daughter, friend, sister, and object of sexual desire, uncertain of which one represents the real her.” (Wilson 261). Wilson also believes that Connie likes the idea of a boyfriend but she’s no where near ready for one. When Arnold Friends invites the idea of sexual intentions she yells, covers her ears and runs in the house (Voteller 239). Arnold Friend on the other hand is really a potential rapist or murderer (Wilson). He pretends to be younger with his nice car, charming disposition, and his tepid clothes. When in real life he is wearing make up to cover is aging face. Wilson believes Arnold Friend uses his “psychological manipulation” and his mysterious mixture of violence and romance to attract Connie. Due to her newfound attraction for boys Connie is totally vulnerable to Arnold Friend’s tactics. Both Votteler and Wilson agree on the trending theory that Arnold Friend is really the devil. Wilson explains that he comes when she is most vulnerable, alone and at an adolescent state. Wilson also points out that Connie mentions Arnold Friend is walking as though he stuffed his boots to make
him seem taller. In retrospect it’s like he is wearing boots to hide his hooves, making it difficult to walk (Wilson 264). Wilson also realizes that Arnold Friend knows an unwittingly amount of information about Connie’s family. With further research Ellis pointed out that Ellie, Arnold Friends quiet friend in the car, is really Eddie, Connie’s friend from the day before. The day before Connie’s encounter with Arnold Friend she met a boy named Eddie with her friend and she spent three hours with him. The fact that Connie had to go with her family to a barbecue the next day must have come up, same as her sisters name. Thus coming to Ellis’s conclusion that Eddie and Ellie are the same person.
Symbolism is one of the most effective and powerful elements in writing. We see various examples of this all throughout "The Things They Carried." Symbolism enables us to tell a story one way, while all along trying to say another. I believe Tim O'Brien has achieved success in doing so in "The Things They Carried."
That’s right. Come over here to me… Now come out through the kitchen to me, honey, and let’s see a smile, try it, you’re a brave, sweet little girl’”(Oates 7). “She put her hand against the screen. She watch herself push the door slowly open as if she were back safe somewherein the other doorway, watching this body and this head of long hair moving out into the sunlight where Arnold Friend waited”(7). What had gotten into Connie, why would she go out with Arnold knowing that all he is going to do is hurt her. Readers may think she is a state of shock and the only thing she can do to protect her family is by going with Arnold.
Arnold Friend imposes a devilish and menacing pressure upon Connie, who ultimate gives in, like a maiden entranced by a vampire's gaze. His appearance, sayings, and doing all combine to form a terrifying character that seems both reasonable and unlikely at the same time. There are people like Arnold Friend out there, not as incoherently assembled, and still he seems an extraordinary case of stalker. A small and even insignificant aside about his name, Arnold Friend, is that with the R's his name would read A'nold F'iend, or "An Old Fiend" i.e. the devil. But, regardless, Arnold Friend is very precisely portrayed as a corrupter of youths and a deflowerer of virgins. Without his useless sweet-nothings or his strange balance problem, he would come across less dangerous and alluring.
Arnold Friend takes advantage of Connie’s teenage innocence for something of a much more sinister purpose. Connie thought she had it all figured out until Arnold Friend came into her life and up her driveway on one summer, Sunday afternoon and made her realize how big and scary the world can be. Arnold embodies everything that Connie has dreamed about in a boy, but is in the most malevolent form of Connie’s dream boy. She always wanted to get away from her family because she has always felt as if she didn’t belong and Arnold can make this possible just in the most predatory way. She always thought sex would be sweet (and consensual) and that she would be in charge of how it progressed, Arnold strips her of the authority she’s held in any other encounter with a boy. The moral of the story is always be careful what you wish
Each of us experiences transitions in our lives. Some of these changes are small, like moving from one school semester to the next. Other times these changes are major, like the transition between youth and adulthood. In Joyce Carol Oates' "Where Are You Going, Where Have You Been?", the author dramatizes a real life crime story to examine the decisive moment people face when at the crossroads between the illusions and innocence of youth and the uncertain future.
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.
As I began reading “Where are you going, where have you been?” by Joyce Carol Oates I found myself relating the experiences of Connie, the girl in the story, to my own personal experiences. She spoke of going to a friend’s house and having her friend’s father drive them to the shopping mall so that they could walk around and socialize or go see a movie. I found that this related very closely with my own experiences of being fifteen years old because it was always someone else’s parents driving my friends and I to the movies or to the mall.
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.
This short story is about a girl trying to be an adult while still being a child. In “Where Are You Going, Where Have You Been?” by Joyce Carol Oates, Connie tries to grow up too soon. Through setting Connie’s true self is revealed by characterization and figurative language through the house as a metaphor.
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”
”Where Are You Going? Where Have You Been?” is a short story written by Joyce Carol Oates, which explores the life of a teenage girl named Connie. One of the issues this story divulges is the various stresses of adolescence. Connie, like so many others, is pressured to conform according to different social pressures, which displays the lack of respect female adolescents face. The music culture, young men, and family infringe upon young female minds to persuade them to look or act in certain ways, showing a disrespect for these girls. While some perhaps intend their influence for good, when put into practice, the outcome often has a negative effect. Moreover, this can lead young women to confusion and a lack of self-respect, which proves
During the teenage years they no longer want to be labeled the “child; matter of fact, they have a strong desire to rebel against the family norms and move quickly into adulthood. This transition and want for freedom can be a very powerful and frightening thing as there are evils in this world that cannot be explained. Most parents try to understand and give their teens certain freedoms, but at what expense? Joyce Oates gives us a chilly story about a teenager that wanted and craved this freedom of adulthood called “Where Are You Going, Where Have You Been?”. This is a haunting story of a young girl by the name of Connie who gives us a glimpse of teenager transitioning from childhood with the need for freedom and the consequences of her actions. Connie is described as a very attractive girl who did not like her role in the family unit. She was the daughter who could not compare to her older sister and she felt her Mom showed favoritism towards her sister. Connie is your average teen who loves music, going out with friends, and she likes the attention she receives from boys. During this time, Connie is also growing into her sexuality and is obsessing with her looks as she wants and likes to be noticed by the opposite sex. Her sexual persona and need to be free will be what is fatal to her character’s life and well-being.
When approached by Arnold Friend at first, she was skeptical but was still charmed by him. As she began to feel uneasy, Connie could have used her intuition to realize that he was trouble. Once she had been engaged by Arnold, her life was over. The influences on Connie and her lack of instilled reasoning led to her down fall. Her family’s fragmented nature was echoed in her actions; consequently, she was unable to communicate with her parents, and she was never was able to learn anything of significance. She felt abandoned and rejected, because no one took the initiative to teach her how to make good decisions. Connie was unable to mature until she was faced with death and self sacrifice. In the end, her situation made it difficult for her to think and reason beyond the position she was in. By not being able apply insight, she fell into Arnold Friends lure. Misguidance by the parents strongly contributed to Connie’s
What is symbolism? According to the Merriam-Webster dictionary symbolism: is the use of symbols to express or represent ideas or qualities in literature, art. What is the writer or artistes trying to intemperate in their work? William Faulkner and Edgar Allan Poe were literary geniuses in their use of dark and subdued writing styles, but in my opinion no one takes the time to look in depth into the real meanings of there works . This paper will elaborate on the use of symbolism in “A Rose for Emily” by William Faulkner and The Tell-Tale Heart by Edgar Allan Poe.
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.