Throughout history some, but not all women have placed an emphasis on physical beauty over all other forms of attractiveness, but this emphasis on physical beauty can cloud judgement and force an individual to perceive something as the complete opposite of what it truly is. A good example of this reasoning is illustrated in Joyce Carol Oates short story “Where Are You Going, Where Have You Been?” which illustrates how the main character, Connie tries to create an adult persona using her attitude and appearance to attract boys. Oates opens this work by introducing Connie as a girl who is trying to discover herself as a woman and she believes that the only way she can do this is by being constantly concerned with her looks. For example, the
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Furthermore, she also doesn’t know, but there are people in this world who are more than willing to take advantage of a girl like Connie. One such person is Arnold Friend, who Oates symbolizes as the opposing force to Connie’s child-like Fantasy world. Arnold knows that he can easily take advantage of her because he knows that he can use her vanity against her, even if it means by force. Additionally, Oates describes Arnold in various ways that gives the reader a sense of who he really is and what his true intentions are. For Example, Oates portrays Arnold as having “shaggy, shabby black hair that looked crazy as a wig” (Oates 629). From this quote it is possible to distinguish that Arnold’s hair represents some sort of fake cover-up that he is trying to hide on his behalf. Also, the sunglasses Arnold is wearing symbolize something as well. They serve as some sort of disguise that allows Arnold to hide who he really is, a predator who is determined to take advantage of Connie. Last but not least, Arnold’s car symbolizes an extension of himself by serving as a contrast between who Arnold really is and who he is disguised as. For example, Oates describes Arnold’s car as an “open jalopy, painted a bright gold that caught the sunlight opaquely” (Oates 629). From this quote it is possible to distinguish …show more content…
As a result, she unconsciously gives in to Arnold’s attempts to get her to spend time with him and by doing so she has taken a step into a reality that she isn’t even sure that she is ready for. Also, by this time Connie has deduced that Arnold isn’t really who he says he is and this reasoning is distinguished from the following quote. “She watched his smile come, awkward as if he were smiling from inside a mask. His whole face was a mask, she thought wildly, tanned down onto his throat but then running out as if he had plastered makeup on his face but had forgotten about his throat (Oates 634). At this time Connie is now sure that Arnold is not just there to spend time with her, he wants to make sexual advances toward her. It is also around this time that Connie is overrun with the reality of the situation. So, she tries to hide from Arnold in her own house. But, Arnold has come too far to let things be as they may, so he convinces Connie to let him in her house by using various threats. He tells Connie, “Hey, you know that old woman down the road, the one with the chickens and stuff–you know her? She’s dead!” (Oates 635). At this point Connie doesn’t know what to believe, but she is sure that Arnold would do anything to get into her house, even hurt her family. So, Connie slowly opens the door and lets Arnold into her fantasy world, but in
Furthermore, she also doesn’t know, but there are people in this world who are more than willing to take advantage of a girl like Connie. One such person is Arnold Friend, who Oates symbolizes as the opposing force to Connie’s child-like Fantasy world. Arnold knows that he can easily take advantage of her because he knows that he can use her vanity against her, even if it means by force. Additionally, Oates describes Arnold in various ways that gives the reader a sense of who he really is and what his true intentions are. For Example, Oates portrays Arnold as having “shaggy, shabby black hair that looked crazy as a wig” (Oates 629). From this quote it is possible to distinguish that Arnold’s hair represents some sort of fake cover-up that he is trying to hide on his behalf. Also, the sunglasses Arnold is wearing symbolize something as well. They serve as some sort of disguise that allows Arnold to hide who he really is, a predator who is determined to take advantage of Connie. Last but not least, Arnold’s car symbolizes an extension of himself by serving as a contrast between who Arnold really is and who he is disguised as. For example, Oates describes Arnold’s car as an “open jalopy, painted a bright gold that caught the sunlight opaquely” (Oates 629). From this quote it is possible to distinguish …show more content…
As a result, she unconsciously gives in to Arnold’s attempts to get her to spend time with him and by doing so she has taken a step into a reality that she isn’t even sure that she is ready for. Also, by this time Connie has deduced that Arnold isn’t really who he says he is and this reasoning is distinguished from the following quote. “She watched his smile come, awkward as if he were smiling from inside a mask. His whole face was a mask, she thought wildly, tanned down onto his throat but then running out as if he had plastered makeup on his face but had forgotten about his throat (Oates 634). At this time Connie is now sure that Arnold is not just there to spend time with her, he wants to make sexual advances toward her. It is also around this time that Connie is overrun with the reality of the situation. So, she tries to hide from Arnold in her own house. But, Arnold has come too far to let things be as they may, so he convinces Connie to let him in her house by using various threats. He tells Connie, “Hey, you know that old woman down the road, the one with the chickens and stuff–you know her? She’s dead!” (Oates 635). At this point Connie doesn’t know what to believe, but she is sure that Arnold would do anything to get into her house, even hurt her family. So, Connie slowly opens the door and lets Arnold into her fantasy world, but in