Reality is Like A Dream in Where Are You Going, Where Have You Been by Joyce Carol Oates

Connie starts out in the story as someone that is self-absorbed, concerned for no one but herself. Arnold Friend is really the same way. He tells her that he saw her “that night and thought, that’s the one” (Oates 480). In spite of the words he uses, the reader knows that Arnold does not have any true feelings for Connie because he says “My sweet little blue-eyed girl” (Oates 483). Arnold is oblivious to the fact that Connie has brown eyes. “In Arnold’s view, Connie’s personal identity is totally unimportant” (Wegs 3).

Through plot, Oates demonstrates how Arnold Friend can be seen as a symbolic Satan. Plot starts when Arnold makes sure to tell Connie he is interested in her as he says,“Gonna get you baby” (Oates 1). Connie is in a drive-in restaurant for an older crowd when Arnold sees her for the first time. Once Connie leaves the drive-in dinner with a boy named Eddie, Arnold decides to make a move on Connie. Arnold uses foreshadowing to let her know he will meet her again. Just as Arnold says he is going to get Connie, he shows up in her driveway, creating a creepy situation. That Sunday afternoon, Connie is alone in her house while her parents and sister are on a picnic at one of their neighbor’s house, Arnold decides to use this opportunity to make his

Arnold Friend’s layers of deception. Connie’s blindness is the pretext of her loss of innocence

When Connie first hears a car pulling up in her driveway, her attention is immediately directed to her hair and looks. She isn’t concerned as much about who is outside or what they want, but how see will look to them. When she initially sees Arnold she is attracted to his style and car. He is muscular in tight faded jeans and a drives a bright gold jalopy. His image is everything that Connie has fantasized about and can relate to. Arnold is even playing

In the story Where Are You Going, Where Have You Been? It talks about a man and a woman whose names are Connie and also Arnold friend. Arnold is suppose ably Connie’s friend who seems to just be Connie’s conscious speaking to her to tell her to do the thinks that she does.

“Nothing about Arnold Friend is genuine, except his violent intentions and his skill at psychological and physical intimidation. By the story’s end, Connie understands that she is not the confident flirt she thought, but a powerless pawn in the hands of a dangerous individual.” (Cormier)

Arnold Friend's façade gives the reader the feeling that something is wrong, as if Oates were trying to persuade Connie away from her impending doom. When Arnold first pulls into Connie's driveway, the reader is alarmed. Connie notices that he is actually much older than he appears and the reader knows that

Adding on to that, Connie’s shortfall that rock music has molded her has come to light when Arnold Friend gives sexual advances to her. Joyce Carol Oates shows this by writing, “It was the same program that was playing inside the house. “Bobby King?” she said. “I listen to him all the time. I think he’s great.” “He’s kind of great,” Connie said reluctantly.” “Listen, that guy’s great. He knows where the action is.” (p.3-para.2). This shows how Connie feels shocked that Arnold was also listening to the same music as she was when she was inside the house last time. Since she was incompetent in realizing how teenagers interpret the music than adult figures, Connie is vulnerable when Arnold threatens her to come to him because of the rock music that is being allotted to teenagers. To sum it up, the sexual song lyrics and the image of rock music that is normally played and embraced in the American culture has influenced Connie, a teenager, physically and mentally; therefore, she is taken advantage of by Arnold because of her immaturity and youth.

During the conversation between Connie and Arnold Friend, she experiences a dramatic moment so intense that it cannot be avoided or ignored. Her attempt was creating a sexy appearance and fascinating the boys in the local diner delivers as her experiment to analyze new fields as well as a new side of herself. However, until Arnold comes into the story, her expeditions have always been closed into security. She may go into an dark alley with a boy for a short period, but no matter what happens there,

The text says, “gonna get you baby”(Oates 1). The fact that Arnold Friend doesn't even know Connie and the first thing he says to her is that he is going to get her. That is pretty satanic, he speaks it into existence that he is going to get her and he does. Westwood backs up the claim stating that through foreshadowing Arnold Friend is similar to the devil. Westwood states that, “Exercising a eerie power, he predicts what will happen”(Westwood 1). Arnold Friend knows he is going to get Connie and what he is going to do with her before he even knows it. These are traits that the devil also has. Constant conflict between Connie and her mother causes Connie to wish for something that she now regrets. The text states, “Connie’s mother kept picking at her until Connie wished her mother was dead and she herself was dead and it was all over” (Oates 1). Connie and her mother are always bickering and Connie wishes herself and her mother were dead. When feeling low or depressed the devil finds ways to get control or seduce you. Arnold Friend takes advantage of Connie’s low self esteem and giver her close to what she wishes for. Through plot Arnold Friend reveals his many sinister traits and why the similarity between himself and the devil is so vivid.

Once Arnold Friend unexpectedly arrives to Connie’s house, “her fingers snatched at her hair, checking it, and she whispered, ‘Christ. Christ,” wondering how bad she looked” (3). Connie thought she recognized the mysterious man in the driver’s seat, the kind of guy she is used to attracting. She saw his hair as

Arnold is introduced in the beginning of the story when Connie is out with her friends and starts talking to Eddie, a boy she meets at a restaurant. As Connie leaves with Eddie, she turns and notices Arnold staring at her with a wide grin laughing and saying, “gonna get you baby”, as he wags his finger (1098). All of this is done without Eddie noticing, perhaps indicating that Arnold Friend may be an illusion or not real. Arnold’s first appearance in the story clearly foreshadows that we haven’t seen the last of Arnold Friend in this story and he is out to get Connie due to the way she represents herself as a sexually open girl.

In the story, “Where are you Going, Where Have you Been?” the author, Joyce Carol Oates, uses literary devices to convey a message about the loss of innocence. To be more specific, Oates’s characterization of the protagonist, Connie, specifically shows the actions leading to her innocence being taken from her. The literary device of characterization gives a clear picture Oates thoughts at the time she wrote the story, expressing concern for young girls who are at risk of having their innocence taken from them.

In contrast, by implying in her short story that Connie is already sexually active, author Joyce Oates deepens the terror of the screen-door meeting by focusing not on just the sexually persuasive nature of Arnold Friend but also on the demonic trance-like state he uses in order to control his victims.

Fantasy and reality are two opposing themes. One directly contradicts the other; they are antonyms. Yet in A.M. Homes’s, The End of Alice, the two seem to blend together. Chappy, the main narrator of Homes’s novel tells the reader his violent past. He is a criminal, a rapist, and clearly mentally deranged. Chappy describes remarkably vile acts. Scenes of him having sex with a young girl, of sexual relations with his own mother, and of a nineteen-year-old correspondent eating the scab off a boy’s leg are some of the most disturbing things seen in the novel. Yet, what is most scarring to the reader is the inability to distinguish the difference between Chappy’s reality and the fantasies he has created. Although the reader is hearing Chappy’s thoughts, one is not sure whether or not he truly can be trusted. At the same time, there is the eerie feeling that all he is describing can be true in the world. What Chappy is telling us may or may not have happened, his noticeable mental instability makes him slightly unreliable. Yet what is so chilling about this is that, regardless of what the truth is, everything he speaks of has the potential to happen. All actions must come from thoughts. A human’s imagination is the birthplace of anything that is to come. A.M. Homes touches upon the darkest of things that can arise from the fantasies one creates. The End of Alice was written by A.M. Homes to display to the reader that the most horrifying thing about the world is our own