Joyce Carol Oates ' enthralling literary work, "Where Are You Going, Where Have You Been?", presents itself as a sinister, psychological thriller surrounding an ignorant adolescent teenager that is, Connie. Connie 's antagonistic and duplicitous behavior that contributes to her temporary high of being sly as a fox, ultimately forces her into a realm of agonizing consequences. Once reality sets in and Connie is no longer preoccupied with her sins of vanity and ignorance, Oates ' spine-chilling work hustles forward in full force as it depicts a tragedy in fate for Connie; Arnold Friend. Toni Morrison 's, "Recitatif", is a classic compendium, compiled from a recital of accounts belonging to two young girls who encounter one another over a vast
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Morrison is a bit ambiguous, as she illustrates to two girls along with an association of racial stereotypes, leaving their true identities a mere conundrum. This playful tale begins as Twyla and Roberta are becoming accustomed to their new environments in St. Bonaventure. Even though the girls are spawn from different sides of the racial sector and Twyla refers to them as "salt and pepper", the two have more in common than their youthful minds can grasp. Their childishness is evident throughout multiple sections of the recital oftentimes, referencing their higher authority counterpart as "Big Bozo", but it is not before long that Morrison introduces Maggie. As Twyla refers to her as, "The kitchen woman with legs like parentheses" (Morrison 932), what she is unaware of is that Maggie will serve a greater purpose later on in both her and Roberta 's lives. The elucidation of Maggie 's purpose occurs during the years post-St. Bonny 's, when Twyla and Roberta begin running into each other during adulthood. There is a disconnect present between Twyla and Roberta 's recollection of Maggie; how much detail can a child 's mind accurately contain? While conversing with Roberta, Twyla 's near but distant memories of Maggie include hostility and the juvenile desire to attack the …show more content…
Upon arrival, Arnold Friend forces Connie 's split persona to unite as one, in an ungovernable manner. A major concern for Connie is that she is fogged by the aesthetics of love and her appearance; a product of utter self-absorption. While Arnold Friend is a threat to Connie 's life, she worries about her appearance towards a total stranger and voluntarily engages in conversation with the enemy. At first, Friend presents himself as a know-it-all smooth talker; Connie is, therefore, elated because he is paying her the attention she wishes to receive from the outside world, especially men. Smooth talk only lasts for so long where Arnold Friend is a concern. Soon after, the conversation takes a turn for the worst, as Friend confesses to Connie that he has been keeping a close eye on her for quite some time, "I took a special interest in you, such a pretty girl, and found out all about you—like I know your parents and sister are gone somewheres and I know where and how long they 're going to be gone..." (Oates 1009); at this point, an uncomfortable Connie still views herself as an invincible force against the wrath of Mr. Arnold Friend. What she has yet to fathom about Friend is, that he is a cynical being and a threat to her life. As the abundance of sexually explicit content spews from Friend 's mouth, Connie displays an indistinguishable voice of
Morrison is a bit ambiguous, as she illustrates to two girls along with an association of racial stereotypes, leaving their true identities a mere conundrum. This playful tale begins as Twyla and Roberta are becoming accustomed to their new environments in St. Bonaventure. Even though the girls are spawn from different sides of the racial sector and Twyla refers to them as "salt and pepper", the two have more in common than their youthful minds can grasp. Their childishness is evident throughout multiple sections of the recital oftentimes, referencing their higher authority counterpart as "Big Bozo", but it is not before long that Morrison introduces Maggie. As Twyla refers to her as, "The kitchen woman with legs like parentheses" (Morrison 932), what she is unaware of is that Maggie will serve a greater purpose later on in both her and Roberta 's lives. The elucidation of Maggie 's purpose occurs during the years post-St. Bonny 's, when Twyla and Roberta begin running into each other during adulthood. There is a disconnect present between Twyla and Roberta 's recollection of Maggie; how much detail can a child 's mind accurately contain? While conversing with Roberta, Twyla 's near but distant memories of Maggie include hostility and the juvenile desire to attack the …show more content…
Upon arrival, Arnold Friend forces Connie 's split persona to unite as one, in an ungovernable manner. A major concern for Connie is that she is fogged by the aesthetics of love and her appearance; a product of utter self-absorption. While Arnold Friend is a threat to Connie 's life, she worries about her appearance towards a total stranger and voluntarily engages in conversation with the enemy. At first, Friend presents himself as a know-it-all smooth talker; Connie is, therefore, elated because he is paying her the attention she wishes to receive from the outside world, especially men. Smooth talk only lasts for so long where Arnold Friend is a concern. Soon after, the conversation takes a turn for the worst, as Friend confesses to Connie that he has been keeping a close eye on her for quite some time, "I took a special interest in you, such a pretty girl, and found out all about you—like I know your parents and sister are gone somewheres and I know where and how long they 're going to be gone..." (Oates 1009); at this point, an uncomfortable Connie still views herself as an invincible force against the wrath of Mr. Arnold Friend. What she has yet to fathom about Friend is, that he is a cynical being and a threat to her life. As the abundance of sexually explicit content spews from Friend 's mouth, Connie displays an indistinguishable voice of