Arnold says again that she should come outside or her family will get hurt. She struggles to be independent, believing that by being attractive she will reach her goal of standing on her own two feet. Connie and her friends often cross the road to visit the drive-in restaurant, where they find music and older boys. He shows up when other family members are out, and there is no supervision and protection for Connie who is vulnerable to hurt and temptation. She thinks nothing of the ominous incident with the guy in the convertible until one Sunday afternoon, when the rest of her family attends a barbecue at an aunt's house, leaving her home alone.
That time and place remains vague, somewhere in mid-century suburban America. Connie likes the way Arnold Friend is dressed: like a teenager from the 1950s or 1960s. Her breath was coming quickly. Oates may simply be using vivid, symbolic language to describe a panic attack or implying a sexualized, supernatural attack by Arnold Friend. Like the devil in many folktales, he comes in disguise and has seemingly unnatural knowledge. It also has some mysterious numbers painted on its side ' 33, 19, 17'.
She recognizes his voice as the voice of a man on the radio. This stranger appeared on her doorstep purporting to keep an assignation that did not exist. Connie lost her shallowness when she was faced with a choice of saving herself or her family. She is self-conscious about her looks and is constantly worried about how other people perceive her. Tired of her boring and powerless childhood, Connie, the main character, searches for cheap thrills she likens to adulthood.
Where Are You Going, Where Have You Been? He grinned to reassure her and lines appeared at the corners of his mouth. She looks around the kitchen as if she has never set foot in it. Her desire for attention and frivolities facilitates in subjecting her as a victim of a wicked and complex world. The play indicates that he started wooing her long before Hamlet's father was dead, hence their getting married so quickly after his death. To most people these acts seem like senseless violence. She asks wise-enough questions regarding his age, and not going over to the other side of the car.
I had just lost a brother, but it was no great loss. At first Connie thinks it's interesting and she flirts with him. This created a story that is likely to be read, analyzed and discussed for generations. I would also agree with you that should the incident with Friend have involved June things may have been different with June most likely having the maturity through life experience to tell Friend to go away. Connie is a typical teenage girl with a desperate need for independence. He too looks much older than Connie, which makes her feel dizzy with fear.
Soon after, a car pulls up into the driveway and honks. The symbolism is a crucial part of the story because it helps the reader to read between the lines and see beyond the obvious meanings of things. Connie's character played a big role in what ultimately happened to her. He seems drunk, or under the influence of something. The two works, published within thirty years of one another, may be compared through the common theme of appearance versus reality, which is furthered through analogous instances of sexual symbolism, and contrasted through dissimilar settings and plot lines. Like his victim, Arnold Friend has an intimate connection to music. Kurkowski sees the isolation and alienation that Connie get from her family and confidence and feelings of taking control that she get when she is out as the psychological basis which cause her to choose leave in the end.
Immaturity verses maturity, a battle that has been fought since the beginning of time, and teens. He comments on her blue eyes, even though she has brown eyes. In traditional Death and the Maiden tales, doorways are often used to represent the transition from life to death, suggesting that Connie may be crossing over into not only adulthood, but an afterlife Widmayer 21. Connie slit her eyes at him and turned away, but she couldn't help glancing back and there he was, still watching her. This chilling line is what the devil said to Connie the first time Connie came in contact with him which foreshadows of things to come. Hillary Clinton has also gotten a lot of coverage, but a lot of it has not just been about her campaign. All this suggests that Arnold Friend, not Connie, is in control of her actions.
She is smart enough to know the dangers of going off with a stranger. Joyce Carol Oates draws heavily on mythology in order to build the core of her story. She recognizes the driver to be the same unpleasant guy. For example, not only does she and Betty regularly entice the older boys whenever they have a chance, but if Connie considers any of the boys unacceptable to her liking, she and Betty would ignore them in every possible way. I discussed what it meant to be an English major with a coworker of mine yesterday, and it got me thinking.
Connie's actions could give people bad ideas about her, and Connie does leave her house without physical force. He tells her what to do, calls her his lover. He was pressing the transistor radio up against his ear and sat there in a kind of daze, right in the sun. Unlike many stories of that time, this one has an open-ended ending. In addition to the possibility of a new adventure, Connie is joining someone who apparently cares about her more than either her parents or her sister has. The illusionary world of freedom and sexuality would only push them to the worst worlds from where they would never fetch away. She is highly influenced by the popular music and lives of the rich and famous, and often daydreams of love and romance as shown in the movies and mentioned in songs.
Thanks for the comment Victoria. This would help the modern reader to recognize who he truly is and what his intentions are. She is caught between her roles as daughter, friend, sister, and object of sexual desire, uncertain of which represents her real self. She had the wrong type of attention that eventually leads her to the wrong man. Perhaps the title refers to all these things in different ways, proving so evocative precisely because it hides several layers of meaning. Whereas Connie might have felt she was in control of the situation this is no longer the case at the end of the story.