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...yce Carol Oates EssayJoyce Carol Oates’s “Where Are You Going, Where Have You Been?” tells the tale of a fifteen year old girl named Connie living in the early 1960’s who is stalked and ultimately abducted by a man who calls himself Arnold Friend. The short story is based on a true event, but has been analyzed by many literary scholars and allegedly possesses numerous underlying themes. Two of the most popular interpretations of the story are that the entire scenario is only dreamt by Connie and that the abductor is really the devil in disguise But the truth is that sometimes people really can just be in the wrong place at the wrong time. Connie, a victim of terrifying circumstance will be forever changed by her interactions with Friend. 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). In addition, a teenager’s feelings of self worth are dependent upon the approval of others. Connie displays this as she practices “…checking other people’s faces to make sure her own was all right”...
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...Joyce Carol Oates’ “Where Is Here?” as a contemporary Gothic ghost story According to the editors of the Prentice-Hall Literature text entitled The American Experience, author Joyce Carol Oates’ discovery of the stories of Ann Radcliff and Edgar Allen Poe “sparked her interest in Gothic fiction” (324). These Gothic elements typically include “bleak or remote settings, macabre or violent incidents, characters in psychological and/or physical torment, supernatural or otherworldly elements, and strong language full of dangerous meanings” (291) . Oates herself is quoted as saying that “Horror is a fact of life. As a writer I’m fascinated by all facets of life” (324). What, exactly, does Oates mean when she says that horror is a fact of life? Do all people fear something, whether rational or not? Why does horror fascinate her enough to write about it? Is it a means for her to confront her own fears, coming to terms with them by giving them names and “faces” as other horror writers also do? Does she use this genre to indirectly address larger social concerns? Is she simply paying tribute to earlier Gothic writers by using elements from the genre or is this the most effective style for her to convey her ideas and duplicate Poe’s notion of the “single effect”? Finally, what is the point behind her short story entitled “Where Is Here?” Who is the mysterious stranger who arrives late in the evening? Why is he there? What lies behind his odd behavior and enigmatic questions...
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...Since a very young age i have never really been fond of mazes. I remember going into a maze a few years ago at six flags with the mindset that it was going to be cheesy and unrealistic. Oh man, was i wrong. I got so scared and paranoid to the point that when someone jumped out and scared me i physically punched them in the face by pure fear and instinct. Least to say the worker was not happy about it. This event transformed from me walking calmly through a scary area to me feeling threatened, attacked, and on the verge of being killed by someone popping up in my face. Transformations obviously create fear. This can be shown in the following three stories. Joyce Carol Oates “Where is Here”, Julio Cortazar's “House Taken Over”, and Arthur Tress’s “the Dream Collector” all transform by using suspension to prove Joyce Carol Oates “Where is Here” transformation scares readers because it goes from being a nice day to becoming creepy by an unwanted visitor. This is effective...
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...Everyone experiences transitions in their lives. Sometimes these changes are insignificant, like a change in schools. Sometimes these can be major life changing events, like the passage from childhood to adulthood. In Joyce Carol Oates’ “Where Are You Going, Where Have You Been?”, the author uses a borderline crime story to investigate a loss of innocence and the unknown future. "Where Are You Going, Where Have You Been" consists of two main focus scenes: the world Connie thrives in and the day everything in it changes. The story begins by introducing the reader to Connie (the protagonist's) world. The story is written in limited omniscient point of view in the third person. The reader is allowed into the private thoughts of Connie only,...
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...Americans know to be as boxing and also to Joyce Carol Oates, “The Cruelest Sport”. “The Cruelest Sport” gives background of not only the dangers of boxing but also how the energy and momentum of this sport is what keeps these raging fans for more action. Oates does not write this paper to talk about the negative, but through it you can see that she too...
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...The Truth Behind Arnold Friend In Joyce Carol Oates short story, “Where Are You Going? Where Have You Been?”, it is argued that the antagonist in the story is the incarnation of evil; Arnold Friend. Connie, the protagonist in the story, was a naïve fifteen year old who was fascinated by boys and was constantly out of the house with her friends. She always talked about the positive effects of her looks, but never realized the negative attention that could draw from how she dressed and acted outside of her house. Arnold Friend was drawn to Connie from the first time he saw her. One day Arnold visited Connie's house harassing her to come take a ride with him and he would not take no for an answer. That was the negative attention that Connie did not want. It is concluded at the end of the story that Connie gave in and went with Arnold knowing her fate would probably be death. Joyce Carol Oates never actually let her audience know who or what Arnold Friend represented, but it is argued that he may or may not be the devil. Throughout the story, Oates used many different ways to show that Arnold could be the incarnation of evil including lust, symbolism, and various religious references. At 15, most young girls in the 1960s were not as adventurous with boys as Connie. It was looked down upon by just about any adult for girls to be alone with any boy at her age. Connie was never really interested in the individual boys she had met, but more of the feeling she got from being in that...
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...In the Romantic Works, Joyce Carol Oates, and Edgar Allen Poe explore the nature of violence through Gothic Elements. In Joyce Carol Oates works such as “Where is Here?”, and “Where Are You Going,Where Have You’ve Been”, and Edgar Allen Poe’s works such as “The Raven”, “A Tell-Tale Heart”, and “The Black Cat”, both of the author's give a form of imagery to create the feeling of violence. Such as Oates creates indirect violence, hidden within the lines, where Poe, has more explicit and direct violence not hidden between the lines. In Oates's works such as ,” Where is Here?”, violence is not told to be happening within the context of the writing, but one has to look more closely to actually see it. For example, in Oates work “Where is Her?” in his writing it says,” This was one of my happy places!-at least when my father was not home. “. When Oates writes about it being peaceful when the father was not home. It suggests that the father in a way was abusive, or in any form violent because in the tex . “The father violently jerked his arm and thrust her away”.In quote to this shows one of the rare direct violence in Oates writing where the father directly jerks the mother's hand away, and where the mother walks away, KNOWING that a bruise the size of a pear would appear on her arm in the morning. In oates other story “Where Are You...
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...short story written by James Joyce. “Where are you going, Where have you been” is a short story written by Joyce Carol Oates. Eveline and Connie are two teenage girls who are ultimately trapped by the influences of their cultures. The church plays a heavy influence on Eveline throughout the story. Eveline is conflicted on whether she should leave with Frank or stay behind with her father. The unknown priest mentioned in the story appears to be significant because of his absence. The priest represents the Catholic Church, a powerful influence in Dublin but he is only remembered from a “yellowing photograph” (Joyce 4). Eveline's religion is not a relief to her at this point in her life; it is a set of rules to live by, which are deeply implanted in her. Eveline is left with obligations and duties, "promises made to Blessed Margaret Mary Alacoque"(Joyce 4), but she does not have support from a church to help her carry them out. The nameless priest who represents the church, like everyone else immigrated to a place far away. Another cultural factor that traps Eveline is the Patriarchal household. Eveline is living with a father who is becoming more and more abusive. She is the last that’s left of her family, her mother has died and her brothers have moved on. She sits at the window pondering over her past and what her life used to be. Her mother was also a victim of the same thing. On her deathbed she chanted “Derevaun Seraun! Derevaun Seraun!”(Joyce 6) which means the end of...
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...man is the norm, to do so as a women is crime. The standards for both genders have gradually changed overtime, subtly alleviating the more extreme ones while at the same time continuing the tradition of others. Beasts by Joyce Carol Oates evaluates these conditions in the American sixties under the lens of a female. Gillian, a teen of seventeen in her academic lifestyle at Catamount College, soon finds that she is attracted to her professor, Mr. Harrow, a situation that leads to her being taken advantage of. Throughout the course of the plot, fires are mysteriously started and culminate with the fire Gillian starts to kill Mr. Harrow and his wife in order to avenge their diluted relationship.The critical essay “Oates’s...
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...Richard McQuitery Analyzing “Where Are You Going, Where Have You Been?” English 221 Westwood College “Where Are You Going, Where Have You Been?” by Joyce Carol Oates is a story with connections to Bob Dylan, has themes of control and family, and has an antagonist that is believed to have been based on a serial killer. It is one of many stories of the ages that will be discussed for years to come. Joyce Carol Oates dedicated this short story to Bob Dylan. Oates admitted in an interview that after hearing Bob Dylan’s “It’s All Over Now, Baby Blue” she was inspired to write the story. (Davidson, 1997) Leave your stepping stones behind, something calls for you Forget the dead you’ve left, they will not follow you The vagabond who’s rapping at your door Is standing in the clothes that you once wore Strike another match, go start anew And it’s all over now, Baby Blue (Dylan, 1965) After hearing these lyrics in Dylan’s song, it is very easy to identify the scene with Connie speaking to Arnold Friend through the screen door. The song’s eerie tone adds a greater depth to Arnold and Connie’s conversation. In an interview on Youtube, Oates was asked why she dedicated the story to Bob Dylan, and her response was: “…Dylan was in a phase where he was writing music like “It’s All Over Now, Baby Blue” and that song, and some others on the same album were rather like fairy tales and nursery rhymes that had gone wrong. He had taken a kind of simplicity of imagery...
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...fire, pale, motionless, his features as though turned to stone.,” represents death. We know this because the narrator uses words like “Pale, motionless,” and “Turned to stone.” These words, which are used to describe the driver, resemble words which would commonly be used to describe a corpse. Also, the mood and words of the second half of the story indicate fear and worrisome. Where Are You Going, Where Have You Been Allusions to popular music reveal the shallow character of Connie and her friends in the short story, “Where are You Going, Where Have You Been,” by Joyce Carol Oates. “And Connie paid close attention herself, bathed in a glow of slow-pulsed joy that seemed to rise mysteriously out of the music itself and lay languidly about the airless little room, breathed in and breathed out with each gentle rise and fall of her chest.” In “Where Are You Going, Where Have You Been” by Joyce Carol Oates, we find Connie and her friends are/seem shallow. We know this because they worship the Big Boy at the hamburger restaurant. Alternatively when she’s home alone, she’s always obsessed with the music as we are told by the narrator, “And Connie paid close attention herself, bathed in a glow of slow-pulsed joy that seemed to rise mysteriously out of the music itself and lay languidly...
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...“Where Are You Going, Where Have You Been” Analytical Paragraph In this short, daunting story “Where Are You Going, Where Have You Been”, Joyce Carol Oates utilizes Syntax and Imagery in order to emphasize Connie’s struggle to achieve dominance over Arnold Friend, which leads to her loss of innocence during turbulent times. The image of “…shaved for a day or two and his nose was long and hawk-like, sniffing as if she were a treat he was going to gobble up” (Oates, “Where are you going, where have you been”, page 4, lines 9-10). Depicts a state of fear and helplessness because the reader envisions Connie as being ambushed. This imagery is significant because it enumerates how Connie wanted to experiment with boys and describe these encounters...
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...tough the film “Smooth Talk” & Joyce Carol Oates’s short story “Where Are You Going, Where Have You Been” are supposed to be the same story, one can only wonder if the same message is actually being presented. Through extensive research on the criticisms of both the story and the film, I have come to the realization that the overall moral & the characters of the story have been changed so much for the film version that at the end it’s questionable at best if the overall message of the story comes across as intended. Beginning with the moral of the story, in an article by Joyce Carol Oates herself entitled "Where Are You Going, Where Have You Been? & Smooth Talk: Short Story into Film” she discusses how she “deferred in the end to Joyce Chopra's [The Film’s Director] decision to reverse the story's conclusion… [in which] the film ends not with death, not with a sleepwalker's crossing over to her fate, but upon a scene of reconciliation, rejuvenation” (Oates, “Where” para 10). Yet, as this deferral might seem slight, in actuality it changes the whole tone of the story, as critic John Simon put it, “[this] disgraceful ending… turns allegory, Gothic horror, and tragedy into soap opera” (Simon, “Lowering” para 1). Yet, besides the ending Joyce Carol Oates did approve of the film, in the same article she also stated, that “Laura Dern is so dazzlingly right as "my" Connie that I may come to think I modeled the fictitious girl on her” (Oates, “Where” para 9). Before I go on...
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...Going Where Has Your Superego Been? Connie, the main character in Carol Oates’ short story, “Where Are You Going, Where Have You Been” is a self conscious teenage girl with a quirky personality. Her condescending mother constantly measures her up against her older sister June, which leads to resentment and tension between Connie and her otherwise admirable sister. On a night out with her friend, Connie has a strange encounter with a boy at a drive in restaurant which introduces the personified Freudian struggle between the ID, Ego, and Superego. First, it is necessary to comprehend how Connie’s family is the personification of the Freudian Superego. By simply relating the characteristics used to describe each family member to the concept of a Superego, the reader can condense their apparent individuality into this definitive Freudian ideal. June, a twenty-four year old still living and working from her parents home, serves as an example of low-risk and conservative decision making. Early in the story Oates writes, “June did this, June did that, she saved money and helped clean the house and cooked and Connie couldn't do a thing, her mind was all filled with trashy daydreams” (Oates, 1), which provides supporting evidence in proving June’s...
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