Analysis of Symbols and Their Meanings in Joyce Oates' Book

In the story “Where Are You Going, Where Have You Been” the title mixes two planes: the past - 'Where Have You Been' and the future - 'Where Are You Going.' Depicting Connie's character in development, Oates argues that the future is directly dependent on the past. As in the real world, our future depends on the actions we have done in the past. Just as time is divided into past and future, so space is divided into two main areas: the world inside, family for example, and the world outside that can be Arnold's world. 

The main reason the reader will extract this devilish symbol from the story is that Arnold's character is strikingly similar to Satan. At the entrance to the car, Arnold warns Connie of his approach when he points his finger at her and says, “Gonna get you, baby”. For most of the story, Arnold tempts Connie to leave the safe hideout that is her home and take him for a ride in his car. The devilish symbolism is most noticeable in the following quote: “I did not plan to enter that house where I do not belong, but only for you to come to me properly. Don't you know who I am?'. With all the devilish characteristics of Satan and his ruthless temptation Connie, Arnold Friend is undoubtedly the devil figure in this story.

Other Symbols in the Story 

Arnold Friend drives up to Connie's house in his car, and Connie notices that he is not only shattered from a previous accident but also marked with sentences such as “DONE BY CRAZY DRIVER”. Friend's name and the numbers 33,19,17, which seem to refer to a verse in the Bible that reads, “Where are you going? Where did you come from?” This seems like a possible clue to the Friend's possible supernatural identity. A friend constantly asks Connie to drive the car; it is the means by which he will take her out of her home and, as a consequence, her family and her adolescent life. Thus, getting into the car would put an end to Connie's childhood innocence. Since the Friend's name is written on the machine, it is obvious that it acts as a direct continuation of the Friend himself and his intentions. The car is also another aspect of Friend's disguise: like his clothes and the music he claims to love, it is designed to make him seem normal and safe to Connie. Ultimately, however, since Connie notices that one of the phrases painted on his car is out of date, it serves as a sign that the Friend is older than he says, and not who he appears to be.

Connie is inside the house for most of the story, and Arnold Friend tries to convince her to go outside. Gradually, both Connie and the reader come to understand that if she leaves the house, the Friend will take her with him and rape her, and perhaps even kill her. The house thus epitomizes Connie's youthful innocence and the security of her family life and status as a child. While nothing can stop a friend from breaking into the house, it seems he cannot enter it on his own, and instead must slowly manipulate Connie into leaving him of her own accord. Thus, he seems to act as a barrier between her current state of naivety and the carnal, disturbing knowledge that the Friend wants to impose on her.

From the very beginning of history, music has symbolized Connie's inner life, in particular the pleasure she receives from romantic relationships and the romantic ideals themselves. When she goes to the square with her friends, there is always music in the background. In addition, she becomes more knowledgeable about music when she experiences moments of intense pleasure, references music when reflecting on her previous romantic encounters, and plunges into a music-induced trance. Thus, music is closely related to her sense of pleasure and desire for self-realization, connection, and escape. Arnold Friend takes advantage of this by using music as a way to make Connie believe there is a connection between the two. The transistor radio in his car plays the same music as the radio in her house, and when he paints his X in the air, Connie notices that it seems like two sources of music are converging. After that, the Friend slowly leads her out of the safe house. Thus, the music symbol represents not only Connie's inner life and pleasure but also the Friend's cruel sexual desire and evil intentions. Additionally, Friend’s attempt to seduce Connie through music suggests that pop culture's portrayal of romance is deceiving and has made it impossible for Connie to identify Friend’s anxious behavior. Eventually, the music also takes on a very sinister connotation.

Conclusion

Joyce Oates portrays Arnold as a psychopathic stalker. Arnold Friend is not only a figure of the devil but also a symbol of a religious and cultural savior. The author puts forward the idea of a religious, diabolical figure when she links popular music and its values as a distorted version of Connie's religion.

Works Cited

• Danticat, Edwidge. “Wall of Fire Rising.” Wall Of Fire Rising - Krik? Krak!, 1991, ischoolworldlit.files.wordpress.com/2012/09/a_wall_of_fire_rising.pdf.
• Oates, Joyce. “Where Are You Going, Where Have You Been.” Where Are You Going, Where
• Have You Been, 1966, www.cusd200.org/cms/lib/IL01001538/Centricity/Domain/361/oates_going.pdf.