Interpreting theme in literary analysis

Manipulation is the primary theme of Joyce Carol Oates' short story, "Where are You Going, Where Have You Been?" Through the careful development of her characters, Oates presents us with details that enhance a tale of violent manipulation thrust upon an innocent girl. This paper will examine Oates' technique and how it contributes to the overall effect of the story.

Oates spends a considerable amount of time describing Connie. Our first indication that this might be a tale of terror is the first sentence, which tells us that her first name was Connie instead of is Connie. Connie is a typical young teenager, filled with typical emotions. For instance, just as every teenager, Connie does not always get along with her mother. We are told that sometimes Connie's mother would pick at her "until Connie wished her mother was dead and she herself was dead and it was all over" (Oates 2075). Connie tells her mother white lies and wonders if it is "cruel to fool her so much" (2076). In these scenes, Oates is providing us with enough information to know that while Connie is growing up, she is still naive.

Connie is also coming of age in this story for she is beginning to realize that the world is full of possibilities and promise. Connie does typical things with her friends, such as going to the movies and to the drive in restaurant "where the older kids hung out" (2075). Her and her friends sit at the counter with their legs crossed at the ankles, "their thin shoulders rigid with excitement, and listened to the music that made everything so good" (2075). She experiences new and exciting emotions that are hard to explain. For instance, as she is walking with Eddie, we are told that her face is gleaming "with a joy that had nothing to do with Eddie or even this place" (2076). She spends time talking with boys and basically feeling good. Connie is also aware that she is becoming a lady. She enjoys her femininity in simple ways, such as washing her hair in the morning "so that it could dry all day long in the sun" (2076). Connie sits:

with her eyes closed in the sun, dreaming and dazed with the warmth about her as if there were a kind of love, the caresses of love, and her mid slipped over onto thoughts of the boy she had been with the night before and how nice he had been. (2077).

Connie's development is critical to the short story because it allows us to feel as though we know Connie. This is an excellent technique because it also allows us to understand how Connie can be manipulated by someone such as Arnold Friend. We are provided a glimpse into her world, which allows us to understand why she is not afraid of Arnold when she first meets him. Her world is enclosed and fairly secure and this element makes Connie the perfect victim.

Connie's behaviors are so obvious that we know what is going to happen to hear from the beginning of her encounter with Arnold. For instance, we are told that when Arnold tells Connie that she is cute, she "pretended to fidget, chasing flies away from the door" (2078). The fact that she does not close the door or call someone at that time indicates her level of innocence in regards to bad people. Arnold becomes very aware of this when he is able to keep Connie talking. He talk about things that a teenager would be interested in talking about, such as music, to ease Connie's suspicions and make her think he is not going to hurt her.

We become aware of Arnold's character as well. He is sneaky and very intelligent. His character becomes more aggressive as the progresses. He is in many ways, Connie's foil because his meanness enhances Connie's innocence.

Arnold's technique of manipulation is simple and straightforward. He begins to compliment her. For instance, he tells her she is cute and "such a pretty girl" (2079). He also notices that her hair is "nice and shining" (2083). He laughs at her in an attempt to make her think he is safe. (2078) He also calls her sweetheart and honey throughout their entire encounter. In addition, he tells her that he "came out here especially for you" (2079) and that he took a "special interest" (2079) in her. He also tries to make her think she can trust him. He tells her the "secret code" to the numbers on the side of his car. (2078) He tells her stories that make her laugh. He tells her that Ellie is the person that is crazy, not him. Pretending to be nice is the first stage of Arnold's manipulation. It becomes evident that Arnold's technique is working because of her hesitation.

When Connie does not get into the car with Arnold and Ellie, Arnold's behavior begins to change. For instance, we are told that when Connie tells Arnold that he should go away, his voice sounded different as if the "heat was finally getting to him" (2081). This is our first clue that Arnold is growing frustrated. It is also significant in revealing Arnold's true nature. We become aware that Arnold is extremely persistent. His next phase of manipulation consists of instilling a sense of fear within Connie. For instance, he tells her that he knows that her family is at her aunt's house and will not be coming home soon. At this point, Connie begins to feel lightheaded and her breath was quickening. (2080) Additionally, her heart felt as if "it was almost too big now for her chest and its pumping made sweat break out all over her" (2082). These are the first physical signs that she is becoming fearful. Of course, Arnold is probably keenly aware that Connie is breathing faster and he knows this is a sign of fear.

However, because of Connie's innocence, she thinks that she can threaten Arnold by telling him she will call the police. Arnold is smart and still tries to convince her that she can trust him at this point. This action is significant in his character development because it reveals his level of deviance. He still calls her honey and makes a promise that he "ain't coming in the house after you" (2082). He also says, "Honey I'm not coming in there but you are coming out here" (2082). He begins to talk in circles by telling saying, "Soon as you touch that phone I don't need to keep my promise and come inside. You don't want that" (2082). This scene is important because it gives us insight into both characters. Connie's innocence prevents her from realizing that either circumstance will produce the same result. She still thinks she can threaten him. Arnold's trickery shows how evil he can really be. This scene is also significant because it is the first scene in which Arnold voices real threat toward Connie.