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This idea has been portrayed outside of this story of having a double life. This detail tells us that Connie’s identity is split: one part of her displays her emerging sexuality by changing her outfit once she leaves the grasp of her family; the other part conforms to what the authorities in her life consider proper. Throughout the beginning of the story, Connie shields her other being from her family in order to portray the image they created for her. Yet when they aren’t around, she is desperate to appeal to the other sex so she changes into clothes and applies makeup to attract their interest. It is this burgeoning inner struggle that foreshadows at Connie’s impending loss of innocence. She is starting to rebel against her family’s wishes …show more content…
and is transforming into a different person “Sometimes they did go shopping or to a movie, but sometimes they went across the highway, ducking fast across the busy road, to a drive-in restaurant where the older kids hung out” (234). Connie creates a fake persona at home but when she goes out, she is a whole different individual. She is innocent and pure, but she cannot control the sexual temptation that she feels: “But all the boys fell back and dissolved into a single face that was not even a face, but an idea, a feeling, mixed up with the urgent insistent pounding of the music and the humid night air of July” (235). Connie is confused on how she is finally feeling differences then years before. She wishes to experience love and the rush of emotion that goes along with it. The fact that not one of the boys stands out in her mind is evidence that she has not been sexually active yet, making the idea more confusing towards her situation. The line between fantasy and reality is blurred by Connie so that she can grapple with the confusing emotions and ideas that she associates with love and sex.
The story creates the dream of Arnold Friend, which when I was rereading, was interesting. Oates creates an identity of mystery for Connie which I believed was a great way to shake up her life. As the dream progresses, Connie is gradually freed by Arnold Friend. In Connie’s dream state she creates Arnold Friend who embodies the Devil. She chooses to cast Arnold Friend as the Devil in her self-created illusion because she associates sex with sin and sin with the Devil. The Devil has many faces, usually horns growing out of his head and hooves for feet. To cover his horns, he had shaggy, shabby black hair that looked crazy as a wig. Arnold Friend also “wobbled in his high boots” due to the fact that he has stubby hooves in place of feet (240). Arnold Friend’s “whole face was a mask” to cover his true identity as the Devil (240). Connie is unable to accept the full reality of her sexual nature, but instead turns it into something evil and frightening and projects it into the form of a devil. Oates uses symbolism with fusing the idea of Arnold Friend with the devil. The Devil is symbolic of Connie’s cravings to be lustful and to have sex. Connie is overflowing with guilt at the thought of fulfilling her sinful desires. She sees Arnold Friend as an older man because she associates sex with becoming a woman and leaving her
childhood naiveté behind. This is why Connie’s dream concoction of Arnold Friend sounds like a hero in a movie, declaring something important. Arnold Friend is the manifestation of the lesson she so desperately wants to learn. Connie’s sexual inexperience is the armor that Arnold Friend needs to chip away to free Connie and become her hero. As she story progresses, Connie, a 15 year old teenager, slowly reveals to the reader that she is living a double life. Connie is shown to be an innocent girl until the story progresses where her reality and fantasy worlds crumble together. Connie creates an image of her “dream guy” who is perceived as Arnold Friend. He symbolizes the devil in her life. Through the way she dresses, to the way she acts around different people, to what she does in her free time; it shows the reader that even if a person looks one way to you, they may be the person you despise when they aren’t around you.
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..."
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.
In the story “Where Are You Going? Where Have You Been?” Arnold Friend is depicted as the antagonist of the book, trying to seduce Connie into going with him on a ride. He could be shown as an evil person intent on doing harm to Connie, but by the way Oates wrote the book you can almost feel the frustration building up in him as Connie keeps denying him the satisfaction of Connie saying yes. This can essence can be felt when Arnold Friend “wobbled again and out of the side of his mouth came a fast spat curse, an aside not meant for [Connie] to hear. But even this ‘Christ!’ sounded forced. Then he began to smile again,” As if Arnold friend is trying to hide something from Connie, “She watched this smile...
The narrator implies that Arnold Friend is Satan by giving certain clues that the reader can easily deduce. The name that Oates gives to the character is one hint to the reader: “Connie looked away from Friend's smile to the car, which was painted so bright it almost hurt her eyes to look at it. She looked at the name, Arnold Friend. She looked at it for a while as if the words meant something to her that she did not yet know” (583). The name “friend” was commonly used by the Protestants to refer to evil or the devil. Moreover, Arnold Friend's appearance also hints that he is Satan: “There were two boys in the car and now she recognizes the driver: he had shaggy, shabby black hair that looked as a crazy wig”(583). The narrator emphasizes the “wig” to make the reader think that he is wearing it for a purpose, which is hide his devil’s horns. Also, the fact that Arnold Friend's eyes are covered is another stragedy use by Oates to confirm the assumption of the diabolic presence: “ He took off the sunglasses and she saw how pale the skin around his eyes was it, like holes that were not in shadow but in...
Her father works out of town and does not seem to be involved in his daughters lives as much. Her older sister, who works at the school, is nothing but plain Jane. Connie’s mother, who did nothing nag at her, to Connie, her mother’s words were nothing but jealousy from the beauty she had once had. The only thing Connie seems to enjoy is going out with her best friend to the mall, at times even sneaking into a drive-in restaurant across the road. Connie has two sides to herself, a version her family sees and a version everyone else sees.
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...
“He wagged a finger and laughed and said, “Gonna get you, baby.” The quote foreshadows future events in the story because of the fact that Arnold says, “Gonna get you, baby.” There’s no actual reasoning behind why he chooses her, but it states he might try something later on. Oates also uses small wording to kind of hint at the readers. “Her mind was filled was all filled with trash daydreams.” (Oates 1). This quote tends to shape the short story. This quote leads readers to the possibility that Connie’s experience with Arnold could have all been a foreshadowing to a trashy daydream. In the article “Oates’s Where Are You Going, Where Have You Been” by David K. Gratz, he also points out the quote. “Both Rubin and Winslow note that seems to be falling asleep just before he arrives, and Rubin points out the nightmare quality of her being unable to act in the end.” (Gratz). This article more or less solidifies the fact that Connie might of fell asleep and dreamed up the whole encounter. In all, Oates uses multiple accounts of foreshadowing to further the possibility of the encounter being all just a bad dream of
...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.
Connie's character plays a big role in what ultimately happens to her. Connie is a vain girl that thinks the way you look is everything. She plays the stereotypical part for girls in today's society. She thinks that as long as you are pretty and dress a certain way then you are everything. This comes across when Oates writes "Connie thought that her mother preferred her to June because she was prettier" (980). By flaunting her looks she could easily give a guy like Arnold Friend perverted ideas about her. It could make them see her as easy, which he did.
Arnold Friend’s layers of deception. Connie’s blindness is the pretext of her loss of innocence
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
Oates uses a metaphor to the Garden of Eden to emphasize Arnold Friend’s deceptive and malevolent ways and how his deception made Connie imagine things. Throughout the story, Connie proves to be so naïve to the dangers in her world, that all she sees is the fact that a guy is paying attention to her. You see this in the beginning of the story (Oates 505-508) when Connie and her friends go to the drive-in restaurant, and a boy named Eddie invites her to go get something to eat. She becomes so engulfed in the moment that a guy noticed her that she doesn’t realize that a guy with shaggy hair is staring at her. When Connie finally comes back down to Earth she realizes him looking at her and he sneers and tells her “Gonna get you, baby.” Connie turns away and continues as she was. Later on in the story when we find out that this shaggy haired guy is Arnold Friend, you start to see him show characteristics like that of the serpent in the Garden of Eden. On a Sunday when Connie was by h...
Oates’ use of the way Arnold looks and acts so similar to the devil, her use of the words on the car meaning something foreign and her subtle symbolism with Connie’s attire make the story’s theme of evil and manipulation stand out so much more. Connie’s clothing symbolizing
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.