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Where Are You Going Hills Like White Elephants? Ernest Hemmingway is considered one of the greatest writers of the 20th century. He wrote “Hills Like White Elephants” in 1927. Like many of his stories “Hemingway counted on the details of the story to communicate its meaning”. (Lanier 286) “Hills Like White Elephants” and Jig, who is the leading lady, are clear examples of the way Hemmingway “celebrated the ideal of “grace under pressure””. (Nicholas Delbanco 329) This same ideal is in Joyce Carol Oates writing. Her writing is unique in the way it focuses on violence stemming from human behavior. She herself has said, “I sometimes write about people who are ordinary people in extraordinary moments, because I think that people are much stronger and more interesting than they appear to be”. (Nicholas Delbanco 204) This is evident in the character Connie, the lead in “Where Are You Going, Where Have You Been?”. Written …show more content…
She has already lost a sense of security in her relationship. She doesn’t feel like he loves her anymore; unsure if he will again. Then, she will lose the life of a child. Heartbreakingly, she is hoping that this “simple” choice will renew the freedoms she had been enjoying. By Deciding to abort, she is “thereby rejecting the opportunity for a new, vital, and meaningful relationship. (Lanier 280) We then circle back to characterization and circumstance, which brings us to “Where Are You Going, Where Have You Been?”. Oates provides so much detail about Connie; she is almost tangible. We know She is 15, naïve, and lives at home with her family. It is also clear, that she is single and flirtatious. She knows she’s pretty and it makes her self-absorbed. “She is simply a pathetic teen-ager who isn't being reared very well. Her church is a bright-lit, infested drive-in restaurant, and her inspirational music is mind-numbing rock-and-roll, both middle-class clichés of the early sixties.” (Coulthard
Connie, from “Where Are You Going, Where Have You Been”, wants to rebel against her family. She uses her attractiveness to flirt with boys at the local restaurant behind their backs as a form of rebellion. She feels as though her family does not appreciate her; her father does not pay any attention to her and her mother constantly compares her to her sister, criticizing her every move and asking why she cares so much about her appearance. On one of her outings she sees a boy who she vainly chooses to ignore. Later he shows up at her house posing as her friend, calling himself Arnold Friend, and talking to her as though he is another boy she flirts with down at the diner and pretending to be her age. She subtly flirts with him at first, only realizing the danger when it is too late.
Authors of great stories often use good technical writing skills. The purpose of this essay is to compare and contrast two short stories: Where Are You Going, Where Have You Been by Joyce Carol Oates, and Hills Like White Elephants by Earnest Hemingway. Comparison and contrast will be done based on their use of plot, point of view and character development. The short story Where are you going, Where have you been is about a teenage girl who is, vain, self-doubting and affixed to the present. She does not know anything about the past or doubts it, and has no plans for the future.
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...
In the story ‘Where are you going, Where have you been?’ by Joyce we can get an insight into Connie's relationship with her mom using the first description we see about Connie's mother and she “noticed everything and knew everything”(4). Here we
Initially, Oates portrays Connie as an extremely conceded young woman. "She was fifteen and she had a quick nervous habit of craning her neck to glance into mirrors or checking other people's faces to make sure her own was all right." Oates set the tone for Connie's character by that statement alone. It was obvious that Connie was a pretty girl but what was more obvious is that Connie knew it. Connie's conceded quality was first revealed as she "gawked" at herself in a mirror to the point where it angered her mother. I imagine Connie's mother was probably talking to her and realized she was not paying attention to anything she said, fascinated by the reflection.
Her exposition is painstaking. She sets the scene by making the main character and protagonist, Connie, parallel to an average girl in the sixties. Oates' narrator introduces Connie using elements of description which puts emphasis on the vanity of the main character. Connie's mother is quickly introduced and is used by the narrator to reveal how much disdain her mother has for her vanity. The narrator uses the main character's mother to introduce her sister, June.
“She may be unmarried or in a bad marriage. She may consider herself too poor to raise a child. She may think her life is too unstable or unhappy, or she may think that her drinking or drug use will damage the baby’s health” (126). The emotional appeal in this paragraph could make the reader think they are pro-choice. Apart from their use of pathos, the authors do a great job using a mixture of both ethos and logos. Page 130 is an example of both, which were used expertly to help the reader understand their point of view and the
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
Throughout the story it is evident that the woman is not sure if she wants to have the abortion—shown in her hesitation to agree. The woman feels that people gain freedom through experiences. "And we could have all of this, and every day we make it more impossible" (466).
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).
Jackson does not reveal the woman's fate until the end of her story, while in Oates’s story, I Knew from the beginning that the young girl’s situation was not going to end pretty. As Michael Timko of News world Communications would say, “While the author declined to tell what she meant, she does provide the careful reader with some clues. The full impact of the story depends on absorbing the various literary nuances of the story, especially tone, irony, and theme” (Timko). He proves that Jackson gives a few hints but the ending is still in the air until Jackson finally reveals her fate in the end of the story. In “Where Are You Going, Where Have You Been?” the fate of Connie is clear, As Laura Kalpakian of The Southern Review stated, “She has no volition, no choices, and therefore it's hard to see her even as
Connie's obsession with beauty is neither atypical, nor isolated in "Where Are You Going, Where Are You Been." She has absorbed the lessons of the culture she lives in.
The question that every worried parent ask when something happens. The narrator stresses the thought of a two-sided face or character, which likewise make this piece ageless and extremely applicable to today’s teens and society. Connie, for occurrence, has diverse sides of the same dress to show, contingent upon whether she is at home or in public. Arnold Friend who tries frantically to depict himself as a young sex-image uncovers his real face as somebody with mischievous goals. By the day's end, Connie's parents neglected to sound a reason to her and satisfy their essential obligation; which is all implanted in the expressions "Where are you going?" and "Where have you been? (Oates,
To start off, Oates incorporates allegories into her story. The entire story is essentially allegorical as its theme consists of a moral message. The theme of “Where Are You Going, Where Have You Been” is similar to “Life After High School” in that society’s incessant need for conformity leads to dire consequences for the youth of America. Had Connie not conformed to the counterculture, she may not have consequently been kidnapped and raped. Arnold Friend is also somewhat of an allegory as well, in that he sends the message that there are consequences of what can happen when one attempts to conform to the standards of society in America as a youth. If Connie didn’t try to conform to the counterculture she may not have become one of Arnold’s victims. Had she made better life choices and had better friends who influenced her in a more positive way, she may not have been subject to such consequences that she faced. Not to say that it is her fault completely- Arnold shouldn’t be a creep- but that due to her choices, she made it that much more possible for her to become a victim of such actions. Oates also includes suspense and foreshadowing in her story as well. Connie encounters Arnold long before he shows up at her house; when she is leaving with one of her many escorts, Arnold yells from his car to her that he is “Gonna get [her], baby.” (Oates) This foreshadowing creates a level of suspense in that the reader is now curious as to what is going to happen later in the story with this stranger. The ending also provides suspense, as Connie and the reader have no idea where Arnold is taking her. Oates doesn’t explicitly state what happens to Connie once she is in the hands of Arnold, but through prior