A Literature Analysis Essay

Joyce chirrup Oates attributes the creation of Where ar You everywheretaking? Where sustain You Been? to tag Dylans Its on the whole over Now, lo usance up meritless and the article she read active a killer in the American souwest, she also considered the leg break offs and folk var.s connected with the report of Death and the Maiden when creating this narrative (Latta 1). Oates was s unquestion sufficiently up known for penning ab kayoed the spiritual, sexual, and talented decline of modern American fellowship writing about much(prenominal) issues as suicide, rape and murder (eNotes. com, sect.2).Oates was also kindle in exploring the various aspects of adolescence through her writing (Schwartz, 1). Critics contribute widely argued over the influences of Where ar You deviation? Where Have You Been? and the true individuality of Arnold shoplifter. Little attention has been given to the medicinal drug incorporated into the story and the obvious standard izedities of the antagonist, Arnold acquaintanceship to legendary singer, dog Dylan. This essay allow explore Bob Dylans melodious influence on Where argon You Going?Where Have You Been? by interpreting the song, Its All everywhere Now, corrupt lamentable and the similarities in the midst of the two as well as identifying physical characteristic similarities between Dylan and wiz. Oates dedicated this story to Bob Dylan which gives interpreters of this story just cause to assume Dylans medicinal drug during the 1960s greatly influenced the characters and scenes of Where be You Going? Where Have You Been? Critics however do non agree as to who Arnold maven re innovates.Most critics recover that Arnold represents the devil and evil, such(prenominal) as Joyce Wegs and Marie Urbanski who argue that Arnold is evil and his external visual aspect represents the devil. Some critics however feel that Arnold represents a religious or heathen savior (Jordan). It is unrealist ic to think that Arnold shoplifter is any savior such as Mike Tierce and John Michael Crafton betoken in Connies Tambourine existence A New Reading of Arnold Friend (Jordan). It get a linems intimately kindredly that Arnold is a creation of Oates which had the appearance of Bob Dylan because she was inspired by him which some a(prenominal) critics have already noted.Another instruction made by a low-pitched portion of critics is that Arnold didnt really subsist but was rather a allegory of Connies imagination such as McConnell states in Connies Tambourine Man A New Reading of Arnold Friend where he writes, Connie is the framer, the story creatorand the diabolic traces in her fiction frighten her not because they be the manifestations of an outside evil but because they be the symbolic extrapolations of her own psyche (1). at that place is no reason to think that Connie, a fifteen year old little girl would imagine such a inauspicious older person.When Connie daydrea ms, she thinks of the c atomic number 18sses of love and sons such as the one she met the night before Arnold Friend showed up at the door. Connie daydreamed about how smooth the boy had been, and Connie continues thinking of how sweet being with this boy had been. She related her experience to be like the movies and the way it was promised in songs (339). Connie was a satisfyingization girl spiritedness her bearing harmonise to the music, and she would not have daydreamed something as forbidding and terrifying as Arnold Friend.While critics may disagree to what Arnold represents there is significant indorse that Arnold was created to look, but not necessarily be, Bob Dylan. Arnold Friends physical translation is that of Bob Dylans appearance in the 1960s. Oates makes mention to the radio DJ, Bobby King, which is in reference to Bobby Dylan, the king of rock-and- couch (McConnell, 1). McConnell also supports the surmise that Arnold looks like Bob Dylan, with his shaggy, shabby grim hair that looked crazy as a wig, (Oates, 340) his long and hawk-like nose, (Oates, 342) and his unshaven face.Arnold also had fully grown and white teeth, his lashes, thick and black as if painted with a black tar-like material (Oates, 344) and his size, only an inch or so taller (Oates, 341) than Connie ar all characteristic of Bob Dylan. Arnold spoke in a fast, sparkly monotone voice which is also revelatory of Dylan, especially since he speaks in a simple lilting voice, exactly as if he were reciting the words to a song (Oates, 342) (McConnell, 1).When Connie became suspicious of his age, before she completed the jeopardy she was in, small clues confirmed her feelings that he was thus an older man. He used a mix of slang as if he were running through all the expressions hed learned but was no longer sure which of them was in expression. Arnold used his lyrical voice and pieces of lyrics from songs to confuse, allay and then scare Connie. Connie recognized ma ny of the lyrics used. Michael Kapper accurately portrays the influence of music in Connies life. Kapper writes, Rocknroll music is a constant social movement in Connies life.At the drive-in, the setting music is something to depend on (Oates, 337), and on Sunday afternoon, with no drive-in and no boys around, the music itself gives Connie joy. This omnipresence is even noted in the musics absence seizure (1). It is important to decipher the similarities between Where Are You Going? Where Have You Been? and Bob Dylans Its All Over Now, Baby puritanic. While there are several other songs that are similar to the overall theme of Oates story, Its All Over Now, Baby blueness has substantial similarities and support from several critics.The reoccurring lyric in Its All Over Now, Baby Blue (Dylan) is its all over now. Arnold Friend spends the majority of the metre at Connies house explaining to her that her life as she knows it is over at the end he says its all over for you here, s o come out (349). Connie and her admirer were very trusting and unaware of the consequences of their actions. Connie and adept risked crossing the roadway to be able to act like adults, and listen to the music that made everything so good (337).Dylan sings of the risks of living on the edge in Its all Over Now, Baby Blue, warning that the highway is for gamblers, bettor use your sense (7). Connie gambles with her life both by crossing a busy highway and by trusting people she does not know. Arnold tells Connie that her time in her home was over, give tongue to Connie, they dont know anything about you and never did and honey youre better than them because not a one of them would have done this for you (Oates, 350). Arnold also makes himself look as if he is a saint rescue Connie from her family who does not netherstand her.This is also present in Its All Over Now, Baby Blue, where Dylan sings look out the saints are comin through (5). Dylan sings that The carpet, too, is movin g under you (17), this must be what Connie felt when she realized Arnold was a forty-year-old baby (Oates, 344) and when she realized that she would not see her mother or cat sleep in her bed again. In the terminal few verses of Dylans song it states come forth your stepping stones behind, something calls for you. Forget the dead youve left, they will not follow you (19. 20).Oates story echoes Dylans song. Connie is going her home where she has learned and grown such as stepping stones and she will never see her family again whether she dies or must bide with Arnold Friend against her will is personal interpretation. Arnold Friend however made it clear that she would not return. It is evident from the wealth of literary analyses that Joyce chirrup Oates story Where Are You Going? Where Have You Been? will continue to have complicated interpretations of its characters, influence and overall theme.It is undeniable however, from Oates trueness of the story to Bob Dylan and the overwhelming similarities of Its All Over Now, Baby Blue to Oates story that both the story and Oates was severely influenced by Bob Dylan visible in both the antagonists characteristics, the select of words and the overall importance of music to the characters and theme of the story. References Its All Over Now, Baby Blue. Lyrics. Sony NY BMG Music Entertainment. (2007). 31 August 2007 Jordan, Tonia. Who Is Arnold Friend? Ezinearticles. com. (2006). 1 kinsfolk 2007 Kapper, Michael, C. A Virgin in the Backseat gage Hash Joyce Carol Oatess Where are You Going, Where Have You Been? The Joyce Carol Oates Papers. (1996). 1 kinsfolk 2007 Latta, Alan, D. Spinell and Connie Joyce Carol Oates Re-Imagining Thomas Mann? Connotations 9. 3 (1999/2000) 316-29. 31 August 2007. http//www. uni-tuebingen. de/uni/nec/latta93. htm McConnell, Leigh. Connies Tambourine Man. Blog. (2007). 31 August 2007. http//conniestambourineman. blogspot. com/2007/07/connies-tambourine-man. htmlOates, Joy ce Carol INTRODUCTION. Short Story Criticism. Ed. Joseph Palmisano Project Editor. Vol. 70. Gale Group, Inc. , 2004. eNotes. com. 2006. 30 Aug, 2007 oates-joyce-carol Schwartz, Aaron. The Story Where Are You Going, Where Have You Been? by Joyce Carol Oates. Ezinearticles. com. (2007). 30 August 2007 http//ezinearticles. com/? The-Story-Where-Are-You-Going,-Where-Have-You-Been? -by-Joyce-Carol-Oates&id=324443 Showalter, Elaine. Where Are You Going, Where Have You Been? . Rutgers UP New Jersey. (1994). 30 August 2007 http//jco. usfca. edu/where. html