The implication is that she will never return. Using indirect characterization, the reader is able to gain insight into the kinds of things Connie does and what she thinks.
Oates has provided the perfect character to undergo a healthy dose of psychoanalytic criticism. Though she spends her time in the restaurant with older boys, she is still reliant on others to take her home.
Since there is no direct use of lyrics in the text, this analysis appears to be farfetched. His rude questions at the end of this passage indicate that he had some personal feeling for the woman. When she is out, she is a different person. He is the one who owns the leverage all along.
While all of these interpretations have their points, what is missing is a close examination of where the story is originated.
Connie felt a wave of dizziness rise in her when she realized that those two men are much older than she was told. Connie has completely forgotten about the creepy guy until he shows up in her driveway when her family is out. Her frequent excursions with the boys she meets at the drive-in restaurant certainly indicate a fear of intimacy, as there is never any indication that she is actually interested in any of them or that she ever sees any of them for more than one night.
When Connie finally realizes what a threat Arnold is, she moves away from the doorway and asks him to leave. He possibly tailed Connie for days and until that night, she finally saw him.
Connie represents the gullable Persephone, and Friend is Hades. The analysis will mainly focus on the interaction between Connie and other people, the role that Arnold Friend plays in the story and symbolic meaning of music in the story.
She likes to hang out with her friends at the mall, where they "lean together to whisper and laugh secretly if someone passed by who amused or interested them. But the use of myth goes even deeper. As is seen when Connie walks out of the house to leave with Friend. In a rushed, blurry scene, something happens: Also some critics suggest that Oates is symbolically linking Friend to the Devil, or to the common perception of the Devil.
This theory completely ignores the psychological disorders that Connie has. The development of social coping mechanisms begins early in life and continues to progress as children learn to interact, negotiate and compromise with their peers. At first this connects Connie and Friend but she soon realises that he may not be all that he seems.
Why did Arnold Friend target her instead of anyone else? She began to scream into the phone, into the roaring. Work Cited Rhodes, Bess.
Arnold Friend was perceived as a serial killer who owns a dominant personality which can be seen easily in the way he speaks. Is there a chance that once upon a time, Arnold was also attracted by Connie in a way that boys usually do and was rejected or ignored by Connie?
This shows the first mythical reference, the Pied Piper, that Oates used to build the layers of the story.
She recognizes his voice as the voice of a man on the radio. He asks whether she saw his sign, and he draws a large X in the air. Arguing for interpretation is truly a good way to perceive a literature work.
She has never had people that she was truly close to because she pushed them all away, and so she has nothing to go on as far as liking Arnold Friend in any sort of way. He too looks much older than Connie, which makes her feel dizzy with fear. This is her only reference to her father throughout the entire story, and it seems that far from being bothered by the absence of her father, Connie is perfectly content to never grow close to the man.
Music is something throughout the story and plays a significant role in the process of confrontations. Using psychoanalytic theory, it is possible to see how her possession of these classic psychological disorders eventually led to her leaving with Arnold Friend.
And I believe that much more can be said. And where do all the detailed information about Connie, her family, her friends, her whole neighborhoods, even the names of them, come from?
To distract her, he makes fun of Ellie, who is listening to music in the car. At home she dresses and speaks differently than when she is out. She scared the hell out of herself.
Would the devil use the Bible in the proper way?"Where Are You Going, Where Have You Been?" is a short story by Joyce Carol Oates that was first published in Literary Devices in Where Are You Going, Where Have You Been?
Symbolism, Imagery, Allegory "The music was always in the background," the narrator tells us, "like music in a church service, it was something to depend upon" (6). much to them, but around his bent head Connie's mother kept picking at her until Connie wished her mother was dead and she herself was dead and it was all over.
"She makes me want to throw up sometimes," she complained to her friends. An Analysis of Connie's Suicide in Joyce Carol Oates's Short Story Where Are You Going, Where Have You Been?
May 22, · Rhodes, Bess. Killing Two Birds with One Stone: Oates’ Figurative and literal Reason behind “Where Are You Going, Where have You Been?” Watermarks Kurkowski, Clifford J. “A Psychological Analysis of Connie: A Feminist Viewpoint of “Where Are You Going, Where Have You Been?” Footlights, n.d.
21 April Connie steps outside. When Connie finally crosses the threshold, the last image the story gives us is Arnold Friend, surrounded by "vast sunlit reaches of land." How we interpret this image determines how we read Connie's final action, as either an act of self-sacrifice or a kind of defeat.Download