The Murders at the Rue Morgue vs Where Are You Going, Where Have You Been?: A Short Comparison
The Murders at the Rue Morgue vs Where Are You Going, Where Have You Been?: A Short Comparison
How does Poe use the concept of the “peculiar” to build suspense and emphasise the story’s central mystery?
In both Poe's The Murders in the Rue Morgue and Oates' Where Are You Going, Where Have You Been?, the central theme revolves around the tension between certainty and uncertainty, or the good and the bad. Poe's story, for example, delves into the inexplicable nature of an impossible murder. The repeated use of the term "peculiar" underscores the mysterious aspects of the murder. Phrases like "Mademoiselle L'Espanaye had been throttled to death by some person or persons unknown" and "It was not possible to say how these injuries were inflicted" highlight the surreal and seemingly inhuman aspects of the crime. Throughout the story, Dupin, the detective, grapples with the "unusual agility" and "lack of motive" of the perpetrator, which defies conventional explanations. Despite acknowledging the case's peculiarity, Dupin focuses on the idea of "depraved men" as the culprits. Poe's prologue states, "Deprived of ordinary resources, the analyst throws himself into the spirit of his opponent." Here, Dupin is portrayed as the opposite. He grapples with concepts beyond human understanding but forces himself to find rational explanations.How does Connie’s duality manifest in her interactions with Arnold Friend, and what does this reveal about her internal conflict?
Similarly, Oates' story explores the duality within the protagonist, Connie. Described as having "one way" of behaving at home and "another" away from it, Connie embodies internal conflict and the struggle between her public and private selves. When left alone while her family attends a barbecue, Connie encounters Arnold Friend, a mysterious figure who attempts to lure her away from the safety of her home. Connie's indecision about Arnold, whether he is “likeable or just a jerk", mirrors the theme of uncertainty and indifference. Ultimately, Connie's choice to leave her home and join Arnold, despite the apparent danger, reflects her search for something good amidst her dissatisfaction with her family life. Her inability to confront the negative aspects of her situation drives her toward a misleadingly benevolent figure. In this context, the name ‘Friend’ is both a literal and ironic label, as it conceals Arnold's true nature. Arnold embodies both the good and the bad. He is an obsessive demon, yet a considerable relief.
Though in different ways, Dupin and Connie are drawn to the semblance of normalcy or goodness in their situations. Dupin strives to rationalise the bizarre, while Connie seeks escape from her familial shortcomings, regardless of the dangerous implications. Each character's journey reveals a deeper struggle to reconcile their perceptions with their circumstances' inherent uncertainty and abnormality.References
Poe, E. A. (1841). The murders in the Rue Morgue. Graham's Magazine, 18(4), 166–179.Oates, J. C. (1966). Where are you going, where have you been? Epoch, 18(1), 24–48.
