Arnold Friend, the omniscient inveigler and deceptive charmer of Joyce Carol Oates’, “Where Are You Going, Where Have You Been,” is evocative of the Devil himself. Through rich symbolism, dialogue, and characterization, Oates’ creates a twisted lie of a man whose every word is to be doubted. Friend is a great deceiver, a tempter to evil, for he not only invites Connie to her own rape and murder, but convinces her walk into his waiting arms. The first description of Arnold Friend tells of his shaggy black hair, gold jalopy, and unyielding grin, traits common amongst all the boys of Connie’s day. It is an intentional disguise, a way for Friend to blend in to the crowd, allowing him the freedom to pick and choose a victim without being noticed
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He chooses Connie, offering a teasing, “Gonna get you, baby,” (316) as she walks by. The flaws in his costume begin to show throughout their second meeting. When he first pulls up to Connie’s house, she notes that his shabby hair looks “crazy as a wig,” though his grin is still in place; despite the faults of his appearance he is confident he can tempt Connie yet. For the first time, Connie takes note of the jalopy. It, “(is) painted so bright it almost hurt(s) her eyes to look at,” (319), similar to “the light” seen before death. It is covered in a pastiche of outdated slang, a self portrait of Friend, and the numbers 33, 19, and 17. The portrait resembles a pumpkin, a symbol of fall, thereby furthering the connection between friend and death. The numbers, when added, equal 69; a base sexual reference that demonstrates the crude nature of Friend. As their conversation continues Connie takes note of Friends age (at least thirty), covered by a thick layer of makeup that does not quite meet his neck. Most prominent of all features of his disguise are his boots. On his walk from the jalopy to the porch, Friend “lurches” and “nearly (falls).” (321) When he stops …show more content…
Each phrase by Friend is calculated, meant to trick and tease Connie until she gives in and leaves with him. At the beginning of their conversation, Friend is direct, asking if he’s late and telling Connie she knew he would be there. As Connie begins to show resistance to his blunt advances, including an invitation to take her for a ride, Friend suddenly shifts the topic to music as his primary mean of persuasion. He knows that, to Connie, music is a sort of pseudo religion and uses this information to lull her into a false sense of security. This manipulation and careful seduction demonstrate his outside knowledge of both Connie’s interests and desires, as well as his power of persuasion. He is attempting to draw Connie away from her “God” as Satan does followers of Christ. He repeatedly uses music as a tactic to relate to Connie, by speaking in the “voice of the man on the radio,” (320) or by bringing along Ellie and his radio. In addition to sharing her interests, Friend plays to Connie’s insecurities. He starts by complimenting her and calling her honey, then quickly switches to calling himself her lover. This hits on both Connie’s fear of being alone as well as her need for validation. It is the first statement to anger her, and the start of her desperation to escape the situation. It is her desperation that ultimately causes her downfall. As Connie’s fear begins to mount, Friend adds the her
He chooses Connie, offering a teasing, “Gonna get you, baby,” (316) as she walks by. The flaws in his costume begin to show throughout their second meeting. When he first pulls up to Connie’s house, she notes that his shabby hair looks “crazy as a wig,” though his grin is still in place; despite the faults of his appearance he is confident he can tempt Connie yet. For the first time, Connie takes note of the jalopy. It, “(is) painted so bright it almost hurt(s) her eyes to look at,” (319), similar to “the light” seen before death. It is covered in a pastiche of outdated slang, a self portrait of Friend, and the numbers 33, 19, and 17. The portrait resembles a pumpkin, a symbol of fall, thereby furthering the connection between friend and death. The numbers, when added, equal 69; a base sexual reference that demonstrates the crude nature of Friend. As their conversation continues Connie takes note of Friends age (at least thirty), covered by a thick layer of makeup that does not quite meet his neck. Most prominent of all features of his disguise are his boots. On his walk from the jalopy to the porch, Friend “lurches” and “nearly (falls).” (321) When he stops …show more content…
Each phrase by Friend is calculated, meant to trick and tease Connie until she gives in and leaves with him. At the beginning of their conversation, Friend is direct, asking if he’s late and telling Connie she knew he would be there. As Connie begins to show resistance to his blunt advances, including an invitation to take her for a ride, Friend suddenly shifts the topic to music as his primary mean of persuasion. He knows that, to Connie, music is a sort of pseudo religion and uses this information to lull her into a false sense of security. This manipulation and careful seduction demonstrate his outside knowledge of both Connie’s interests and desires, as well as his power of persuasion. He is attempting to draw Connie away from her “God” as Satan does followers of Christ. He repeatedly uses music as a tactic to relate to Connie, by speaking in the “voice of the man on the radio,” (320) or by bringing along Ellie and his radio. In addition to sharing her interests, Friend plays to Connie’s insecurities. He starts by complimenting her and calling her honey, then quickly switches to calling himself her lover. This hits on both Connie’s fear of being alone as well as her need for validation. It is the first statement to anger her, and the start of her desperation to escape the situation. It is her desperation that ultimately causes her downfall. As Connie’s fear begins to mount, Friend adds the her