Religion And Mythology In Where Are You Going, Where Have You Been

Textual Analysis of the Tension(s) In the Story “Where Are You Going, Where Have You Been?” by Joyce Carol Oates Introduction The story "Where Are You Going, Where Have You Been?" by Joyce Carol Oates is a prime example of the conflict between youth and experience since it pits Connie's naivete against the seductive yet dangerous Arnold Friend. Connie's need for direction from an older person and her yearning for independence is put into conflict by Joyce Carol Oates.

In the story “Where Are You Going, Where Have You Been?” by Joyce Carol Oates the outcome and the meaning relies solely on the reader. For some it’s a riveting fight between good and evil and for others it’s a sordid tale of seduction and loss of innocence. Connie and Arnold Friend represent the struggle between good and evil. Oates’s mixture of literal, figurative, psychological and allegorical makes this a great and suspenseful tale. Oates unmasked Arnold Friend as a satyr which is a demi-god from Greek and Roman mythology.

Finally, Oates uses irony when Connie tells Arnold that he is "crazy"(72) and he responds by saying that she is the one who is "crazy"(72). This is ironic because it is clear to the reader that Arnold is the one who is truly unstable. Overall, "Where Are You Going, Where Have You Been?" is a work of fiction that employs several different rhetorical devices to create a haunting

Writers interpret this as him being a popular rendition of the Devil, as Werlock writes, “he may be the devil himself, an identity many critics see inherent in his stumbling walk and his inability to balance in his boots: Cloven hooves may be the source of his difficulties” (Werlock). Werlock suggests that the reason Friend’s appearance seems so patchworked is because he is incorporating as many tactics as possible to hide his attributes. Other characteristics of this representation of the Devil include horns and a pointed tail, which aren’t mentioned. His eyes are also described as being dark and sunken, and they were hidden carefully by mirrored sunglasses until Friend took them off. It’s important to point out that Connie, while picking

If you like a little thrilling romance, than a nonfiction story “ Where are you going, where have you been” by Joyce Carol Oates is the story for you. I am going to write about how Arnold Friend shows symbolic satan through dialogue, plot, and character. Arnold Friend shows symbolic satan through character throughout the story. Bob Dylan influenced Arnold Friend in his conversation with Connie his promises, threats, and the careless confidence which he seduces her(pg.200-01). Arnold Friend with Connie was talking about that if she picked up the phone he was gonna come in her house and get her.

Varsha R. Yerram Professor Baker Studies in Fiction October 12, 2014 A Tainted Fantasy Overtaken by Morbid Reality In Joyce Carol Oates’ short story “Where Are You Going, Where Have You Been?” there is a serious conflict between what is reality and fantasy. It is far too easy for individuals to create false fantasies and illusions regarding what they believe something to be.

On a date, she noticed a guy in a gold convertible. The same guy, Arnold Friend and his friend, Ellie, showed up at her house while her family was gone to a barbeque. Arnold is trying to convince Connie to take a ride with him but Connie is fearful of his intentions. Through manipulation and threats, he finally lured the young girl to leave with him. In “Where are you going, where have you been”, Joyce Carol Oates used inspiration from a song and serial killer to write an incredible short story packed with themes and symbolism.

The short story “Where Are You Going, Where Have You Been?” was written by the author Joyce Carol Oates in 1966. Oates describes her idea for the story after briefly reading an article about the real-life murderer, Charles Schmid, who lured and murdered three teenage girls (Kirszner & Mandell 523). She uses this idea to create the character, Arnold Friend, and his victim, Connie. Connie is a typical teenage girl portrayed as naïve and self-centered. The short story appears realistic, given that the conflict in the story is based off of real events.

In particular, Oates uses religious symbolism in “Where Are You Going, Where Have You Been” to distinctly present the friction between illusion and reality. The protagonist views shopping malls and drive-in restaurants as religious places; thus, the author implies their church-like appearance. For example, Connie and her friends refer to the location as a “sacred building” (Oates 1). The fact that popular places are portrayed as religious symbols emphasizes the false display of their greatness. Girls find being there valuable, as a weekly church service that cannot be skipped, while, in reality, shopping malls are not designed to be as important to people.

When one approaches the reading and looks actively, between the lines of each story, you can detect each of the author's small but still distinct undertones that connects religion in both stories. In "Where Are You Going, Where Have You Been", the author notes that Arnold's shoes didn't fit, and it look as if he had stuffed rags into his boots to make himself appear taller than his actual height. Oates continues on, stating "One of his boots was at a strange angle, as if his foot wasn't in it. It pointed to the left, bent at the ankle.” This could be interpreted through a religious standpoint that Arnold’s shoes didn't fit because inside he had hooves instead of feet, referring Arnold to be the Devil in search of Connie, as it is also known that the Devil was said to have had a pair of hooves that he took extreme measures to hide from

In Joyce Carol Oates fictional short story “Where Are You Going, Where Have You Been?” the majority of the story lies beneath the surface. More specifically than just the story, you realize that there is more to the character Arnold Friend than what may appear. The author has always remained silent and ambiguous about the real meaning of Arnold Friend’s true nature and she leaves room for the readers to make their own interpretation of him. Readers can analyze Arnold Friend and see him as the devil, he could just be the personification of popular music imagined by Connie in a dream, but Arnold Friend could also be the result of drug use.

In her short story "Where Are You Going, Where Have You Been?", Joyce Carol Oates utilizes a variety of literary devices to strengthen the story in its entirety. This short story is essentially about a 16-year-old girl named Connie and the conflict between her desire to be mature and her desire to remain an adolescent. Throughout the story, the audience sees this conflict through her words in addition to through her behavior. The audience is also introduced to Arnold Friend, a rather peculiar man, who essentially kidnaps her. This short story by Joyce Carol Oates functions and is additionally meaningful because of her usage of literary devices.

Connie: The Victim To A Demon The “heroine” of the short story Where Are You Going Where Have You Been written by Joyce Carol Oates has been interpreted in many different ways by many different authors across the globe. They all have their own opinions on why Connie had left her home and walked into the arms of Arnold Friend. Larry Rain makes the argument that Connie was a noble heroine that “chooses the side with the devil [to save her family]” (Rain Gale).

In Joyce Carol Oates’s short story “Where Are You Going, Where Have You Been” the main protagonist finds herself in a very hostile situation. With an all most fateful encounter with a man known as Arnold Friend. Forcing her to choose whether to run off with him or taking her by force. This man known as Arnold Friend to the reader comes off as almost a demon. A person who uses many temptations, word play, and threats to take advantage of the young protagonist Connie.

Early in the novel, the reader gets the impression that the painting is pervaded by the longing for the youth that one has lost as well as the frightening deficiency of human life. In chapter eight this painting is described as: “the most magical of mirrors.” (Wilde 98). The portrait works