. As the conversation continues, we see that Arnold’s intentions are not at all innocent. Jonathan Beller (Oates has commented in the essay on the film reprinted here that she wished that she had “built up the father, suggesting, as subtly as I could, an attraction there paralleling the attraction Connie feels for her seducer, Arnold Friend.”) Often the heroine’s mother is also a prisoner in the castle or has died there and indeed the castle or enclosed space is another symbol of the maternal body. . Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. From early in her career, Oates has often been judged in terms of the gender-determined norms of American literature, criticized for her enormous literary productivity and for the violence of her drama and fiction. : Selected Early Stories. There she grows hungry and eats the seeds of a pomegranate. 5. Everything just took off from there.”7, At this stage of her life, Oates was planning to become an English professor; she entered graduate school at the University of Wisconsin, where she met and married another student, Raymond Smith. Oates has commented that she deliberately did not read the Life article all the way through, in order not “to be distracted by too much detail,” but that it captured her interest: “There have always been psychopathic killers, serial murderers, and interest in them; as how could there fail to be, given our human predilection for horror, ‘the fascination of the abomination’ . Because she has consumed the seeds, her mother Demeter cannot bring her back to earth, but must accept the gods’ proposal that Persephone should spend half the year in the realm of the dead with Hades and only half on earth with her. MGMT489.W1 Writing in the film journal Cinéaste, for example, Elayne Rapping described the story as a Cinderella tale in reverse, where the “wicked stepmothers and ugly stepsisters get their revenge on the ‘popular’ one, the one who ‘thinks she’s so pretty. We’re back in the familiar terrain of Blame the Victim Land.” But while Daly agrees that Chopra uses the camera and the soundtrack to “enforce a sexual/spatial system of inequalities,” she also argues that the movie is not a typical Hollywood horror film which exploits female sexual vulnerability. Your email address will not be published. Her thinking on the “ontological status of the writer who is also a woman” is deeply sympathetic to feminist concerns but firm in its distinctions between the serious writer’s genderless imagination, and the sexually-specific reception and critical understanding of her work. Or to try. Joyce Carol Oates, “The Nature of Short Fiction; or, The Nature of My Short Fiction,” in Frank A. Dickson and Sandra Smythe, Handbook of Short Story Writing (Writers Digest: Cincinnati), xiv. Although Arnold Friend is a psychopath, his function in the story is also to force Connie into recognizing the limiting codes of the familly. Connie is always at the mercy of men who will come with a vehicle to take her away, to take her somewhere else. 17. Walter Clemons, “Joyce Carol Oates: Love and Violence,” Newsweek (December 11, 1972), in Conversations, 33. It also stars Lisa Kudrow as Denise, Gina Gershon as Sharon, James, by Frank Darabont and is a Story by Stephen King. Executive Summary ( Log Out / ", Criticism on "Where Are You Going, Where Have You Been? (San Francisco: Canfield Press, 1975), 18-19. In 1994, she edited the casebook for “Where Are You Going, Where Have You Been?” published by Rutgers University Press; and in 2006, she wrote the introduction to The Wonderland Quartet, four novels by Joyce Carol Oates published together by the Modern Library. In 1986, the story was the basis of a commercially successful film, Smooth Talk, directed by Joyce Chopra, which in its turn became the subject of much feminist debate. Connie does not know this boy, whom she soon realizes is an older man, and does not want to go with him. Connie is punished for her flirtatiousness, her sexuality, her sense of adventure: “She was asking for it, wasn’t she? Change ), You are commenting using your Google account. Meghie the director of the film was able to capture Yoon 's words in a wonderful heartfelt movie. 19. Moviegoers identify more with the corporeal identity of the actors and actresses on the screen, and associate their own destinies and fantasies with the idealized figures on the mobile and luminous canvas.”26, Oates has always made clear that “Smooth Talk, with its different title, is an autonomous work.”27 In an essay originally written for the New York Times and reprinted in this volume, she discussed her own reactions to the film, emphasizing the historical and generic differences between her ending and the one chosen by Joyce Chopra.
New Brunswick, New Jersey: Rutgers UP, 1994. . Arnold’s friend, Ellie, is somewhat in the background, but is there as a solid presence to enforce everything Arnold says. '” In Rapping’s view, both film and story were “preoccupied with sexual danger and fear, with the menacing image of men as ruthless, semi-deranged predators,” and despite its ending, the film “resurrects a puritanical fear of female sexuality and the old good girl/bad girl dichotomy which uses that fear to keep women sexually repressed and at war with each other.”25, A major difference between the story and the movie was the intense degree of identification viewers, particularly women viewers, felt with Connie. Oates has described her many stories and novels as “tributaries flowing into a single river”; so it is not surprising that “Where Are You Going” should contain many elements that have been characteristic in her work, including the blurring of realism and the supernatural, and the effort to bear witness “for those who can’t speak for themselves.”1 The story also takes up troubling subjects that have continued to occupy her in her fiction: the romantic longings and limited options of adolescents, especially girls; the sexual victimization of women; the psychology of serial killers; and the American obsession with violence. In 1962, Oates and Smith moved to Detroit, and she was deeply marked by the racial violence that finally exploded in the riots of 1967.
The success of the film sent reviewers back to the story, and occasioned an intense debate over the feminist implications and contemporary relevance of both story and movie. Introduction: "Where Are You Going, Where Have You Been? The issues of feminist allegory became more evident in 1986, when “Where Are You Going, Where Have You Been?” was made into a movie called Smooth Talk, with a screenplay by Tom Cole … There are twelve districts across Panem, their country. “Afterword,” Where Are You Going, 521.
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