Where Are You Going, Where Have You Been?: Reading Between the Lines
Where Are You Going, Where Have You Been?: Reading Between the Lines
In Oates’ “Where Are You Going, Where Have You Been?”, there are ample moments of religious symbolism. Arnold Friend, the antagonist, is a physical representation of the Devil, or Death, while Connie, the protagonist, is the unwilling subject of his charm. Arnold’s character is an apparition of the contrast between appearance and reality, signifying that malevolence can be masked, disguising itself as benevolence. We will be analysing the moment from just before Arnold and Connie’s interaction until the end of the story.Arnold Friend: Appearance vs Reality & Intentions
Home alone on a Sunday, a strange car pulls into Connie’s driveway with two strangers, Arnold Friend and Ellie. Arnold’s physical oddities are mentioned, focusing on his wig-like hair, sunglasses, and the strange limp and lean he inhabits. His entire role in the story is to lure Connie outside the safety of her home and take her for a ride in his car.The name ‘Friend’ is an antonym for Arnold’s true identity, a mask shielding his nefarious intentions. He has a seemingly supernatural trait, in which he has the ability to know everything about everyone, a feature he proves to Connie within the story. Arnold has knowledge of impossibilities, something that no human would be capable of wielding. Connie recognises this unusual talent and quotes, “People don’t talk like that, you’re crazy.” symbolising that subconsciously, she has become aware that he is not a ‘person’ and his intentions, despite his name, were never friendly.Religious Symbolism: The Devil & the Ferryman
Connie is a vain 15-year-old who does not conform well with her family. Blinded by the jealousy of her mother and sister's relationship, it is apparent that Connie does not view her life as one with much excitement. This ideology manifests itself in Connie's life, though it does so with ill intent, hence the arrival of Arnold. Sunday, otherwise known as a holy day, can be interpreted as Arnold's attempt at representing a benevolent entity, such as God or Jesus himself. Moments before Arnold and Ellie arrive at Connie's home, she hears a statement on the radio: "Son and Charley want you to pay real close attention to this song." Meaningless at first, we then see the connection when Arnold and Ellie arrive, with the same song playing on the radio. This moment can be an implied warning from god, a voice reminding her to stay alert.While Arnold attempts to lure Connie outside, Ellie is a seemingly mysterious character with barely any dialogue. His involvement in the story, however, is quite significant. He remains in the car, never once stepping outside, and this can be interpreted as the role of the Ferryman. While he does not directly impact Connie's decision to leave the house, he is involved in her journey to the afterlife or an alternative life in which she longs for. The sunglasses also play an integral role in religious symbolism. While at first, we understand that their purpose is to conceal Arnold's true age and identity, they are symbolic in showing Connie what she desires. Though not stated explicitly, the sunglasses act as a portal, a mirror to a life that Connie wants to escape her own for. There is a moment when Arnold fixes his hair, intending to ensure his sunglasses remain atop his head. This is important in understanding that the sunglasses can be an allegory for hypnosis and charm. "His sunglasses told nothing about what he was thinking." Instead, they showed Connie what she desired.Finally, there is one specific moment where both Arnold and Ellie seem to be staring into the distance, more specifically at "nothing" behind Connie. This "nothing" could be associated with God or Jesus, with his attempts to save Connie from Arnold, the physical embodiment of the Devil and Death. As Arnold approaches Connie, he stumbles and yells, "Christ", a phrase that is described as a 'slur' that 'wasn't meant for Connie'.Conclusion
Connie is eventually lured outside by Arnold’s charm, symbolising the inevitability of death. The end is inescapable regardless of the embodiment or signs of Jesus appearing to warn and protect Connie. Connie longed for a life that was not hers and ultimately manifested a deal with the Devil. Though she never explicitly states her desires, we, as readers, can understand her subconscious. The religious symbolism in this story depicts how ideas can present themselves deceivingly. First, appearing as friendly and alluring, beneath lies the sinister construct of reality. While Arnold can be depicted as the Devil or Death, we must reconsider his intentions. Though he is deceiving, he ultimately grants Connie’s underlying wish. So perhaps Arnold Friend truly is her ‘Friend’.References
Oates, J. C. (1966). Where are you going, where have you been? Epoch, 18(1), 24–48.
