Oates’s masterful mixing of literal and figurative, psychological and allegorical levels makes “Where Are You Going, Where Have You Been?” a powerful and fascinating story. This mix is particularly evident in her depiction of both Connie’s and Arnold’s double identities. Connie carefully pulls her sweater down tight when she leaves home: “Everything about her had two sides to it, one for home and one for anywhere that was not home.” Arnold stuffs his boots in order to appear taller and more attractive or perhaps to hide the cloven feet of his satanic self. In Connie’s action, the reader recognizes the adolescent beginning to break away from her family and to test the powers of her emerging sexuality. In Arnold’s, the reader sees the devil’s traditional role as arch-deceiver and seducer. On a still deeper psychological level, Arnold Friend is the subconscious nightmare version of Connie’s waking desires and dreams, erotic love as her sister June might suppose it, not “sweet and gentle” as promised in Bobby King’s songs. Allegorically viewed, Friend brings the vehicle that will lead Connie to the “vast sunlit reaches” of the future, a metaphor that expresses the vagueness of her dreams while also representing an unknown—attractive, perilous, and as inevitable as death.

Though the story is heavy with thematic significance and symbolism, it also reads quickly because of Oates’s skill in building suspense. Each stage of Arnold Friend’s unmasking and Connie’s resulting terror and growing hysteria is carefully delineated. When Arnold first arrives, Connie cannot decide “if she liked him or if he was just a jerk.” The reader becomes more suspicious than she does as she notices his muscular neck and arms, his “nose long and hawk-like, sniffing as if she were a treat he was going to gobble up and it was all a joke.” Gradually, Connie realizes that all the characteristics she “recognizes” in him—dress, gestures, the “singsong way he talked”—do not come together the way they should. Her heart begins to pound faster when she questions his age and notices that his companion has the face of a forty-year-old baby. Worse yet, Arnold seems to possess preternatural vision to the point of describing all the guests at the family barbecue, what they are doing, how they are dressed. As he states more explicitly what he wants from her, Connie’s terror and the story’s suspense mount. When Arnold promises not to enter the house unless Connie picks up the phone, the reader may recall that the devil as evil spirit cannot cross a threshold uninvited. At this point, the end seems inevitable; in her presumed murderer’s words, “The place where you came from ain’t there any more, and where you had in mind to go is cancelled out.”

It is no wonder that “Where Are You Going, Where Have You Been?” is the most frequently anthologized and critically acclaimed of Oates’s short stories. Its popularity is ensured by the famous Oates blend of violence, sex, and suspense; its place in the American literary canon by its thematic importance, Oates’s frightening vision of the contemporary American inability to recognize evil in its most banal forms.

Though many critics have complained about the gratuitous violence of Oates’s work and seem to distrust her extraordinary fluency (she produced more than thirty-five volumes of stories, novels, and literary criticism in her first twenty years as a published writer), this particular story demonstrates her ability to achieve tight compression and careful stylistic control. From the first line, “Her name was Connie,” to the last, “’My sweet little blue-eyed girl,’ he said, in a half-sung sigh that had nothing to do with her brown eyes,” this is a story in which every word counts.

Point of View

The opening line of "Where Are You Going, Where Have You Been?"—"Her name was Connie"—immediately indicates a third-person narrator. This narrative perspective remains closely aligned with Connie's viewpoint. The reader gains insight into her thoughts, but the narrator refrains from offering additional information or judgments. For example, when Connie harshly judges her sister and mother, the narrative mentions, "now [her mother's] looks were gone and that was why she was always after Connie." It is clear that this opinion belongs to Connie, not the narrator.

Experiencing the story through a narrator who portrays events from Connie's perspective helps the reader empathize with her fear as she evolves from a flirtatious girl to a victim. Arnold Friend is depicted solely through Connie's eyes; the reader is given no insight into his private thoughts. This narrative "detachment" renders him less human and more menacing than if the narrator had provided details that might allow the reader to empathize with him. By maintaining a third-person narrative voice rather than using Connie's own words, Oates can employ descriptive language that Connie likely would not use. This descriptive language is crucial in conveying the story's mood, imagery, and symbolism.

Setting

References to contemporary music and slang place the events of "Where Are You Going, Where Have You Been?" in the same era that Oates wrote the story, the mid-1960s. Oates provides minimal details about the town, portraying it as a typical suburban area with common features like a shopping plaza and a drive-in restaurant. The setting is further illustrated by the mention of Connie's three-year-old "asbestos 'ranch house,'" highlighting its newness and style. This ordinary setting contrasts sharply with the story's underlying violence, enhancing the reader's sense of unease. The lack of specific details about the setting helps universalize the story's themes, suggesting that Connie's struggle with identity is a byproduct of modern suburban culture. While the exact location is not crucial, the mention of the radio show "XYZ Sunday Jamboree" may allude to radio station WXYZ in Detroit, Michigan, where Oates lived when she wrote the story.

Structure

The structure of "Where Are You Going, Where Have You Been?" follows a recognizable pattern. The initial pages offer an exposition that introduces the reader to Connie and her family, detailing her personality and lifestyle. The rising action begins when Arnold Friend arrives in the driveway and starts a conversation with Connie. This interaction leads Connie, whose character has been meticulously developed, to confront an external force. This force creates a conflict for Connie: should she yield to Arnold or attempt to protect herself? The story reaches its climax when Arnold overpowers Connie's will, and she submits to his sinister desires.

One of the most distinctive aspects of the story's structure is its lack of resolution. The narrative abruptly halts as Connie walks towards Arnold. The absence of a clear conclusion leaves Connie's fate unknown, heightening the story's atmosphere of implied violence and horror. Arnold's statements, such as wanting to "come inside you where it's all secret" and showing Connie "what love is like," hint at rape. Similarly, Connie's remarks about not seeing her mother again or sleeping in her bed again suggest her possible murder. However, the unresolved ending has sparked considerable debate among critics, with some arguing that Connie is killed and others suggesting she is not. Some critics look to Oates's inspiration from a real-life Arizona murderer, reported in Life magazine, to argue for Connie's certain death. Another interpretation comes from critic Larry Rubin, who views the entire encounter with Arnold as a dream, suggesting that the story's ambiguous resolution involves Connie waking from one of her "trashy daydreams." This unresolved ending amplifies the story's lingering sense of horror by extending the suspense beyond the conclusion.

Symbolism and Imagery

Many critics interpret Arnold Friend as a symbol of a broader concept or force, such as the devil, death, or sexuality. Connie, too, has been seen as representing various ideas: Eve, troubled youth, or spiritually unenlightened humanity. These interpretations are supported by Oates's original title for the story, "Death and the Maiden," which she chose to suggest "an allegory of the fatal attractions of death (or the devil)" for a young woman "seduced by her own vanity." However, Oates notes that as she revised the story, her focus shifted towards a more realistic portrayal of her characters and their situation, rather than an allegorical one.

Numerous images are employed to provide readers with a glimpse into Connie's viewpoint in the story. These images often pertain to popular music, which serves as a constant backdrop throughout the narrative and assumes an almost sacred role for Connie, as "none of them bothered with church." The story, "Where Are You Going, Where Have You Been?" is dedicated "For Bob Dylan," and at least one critic has pointed out the resemblance between Arnold's car and the "magic swirling ship" mentioned in Dylan's 1960s song "Mr. Tambourine Man." Connie holds the belief that life and love will be "the way it was in movies and promised in songs." This naive faith in the simplistic messages of popular music renders her unable to recognize Arnold Friend's true intentions until it is too late to flee. Arnold also uses song lyrics to manipulate Connie. In a "half-sung sigh," he refers to her as "My sweet little blue-eyed girl," possibly alluding to the Van Morrison song "Brown-Eyed Girl." Notably, Connie has brown eyes, and this error further illustrates that Arnold is not who he appears to be.

The opening line of "Where Are You Going, Where Have You Been?"—"Her name was Connie"—immediately indicates that the story is narrated in the third person. This narrative perspective closely mirrors Connie's viewpoint. The reader gains insight into her thoughts, but the narrator refrains from adding extra information or passing judgment. For example, Connie's harsh critiques of her sister and mother are conveyed: "Now [her mother's] looks were gone and that was why she was always after Connie." It is evident that this is Connie's perspective, not the narrator's.

Experiencing the story through a narrator who filters events through Connie's perspective helps the reader empathize with her fear as she transitions from a flirtatious girl to a victim. Arnold Friend is depicted solely through Connie's eyes; the reader is not privy to his inner thoughts. This narrative "detachment" renders him less human and more menacing, as the narrator avoids providing details that might make him relatable. However, by maintaining a third-person narrative instead of using Connie's voice, Oates can employ descriptive language that Connie herself likely wouldn't use. This language enriches the story with mood, imagery, and symbolism.

The structure of "Where Are You Going, Where Have You Been?" adheres to a familiar pattern. The opening pages introduce the reader to Connie and her family, detailing her character and lifestyle. The rising action starts when Arnold Friend arrives and begins a conversation with Connie. Her well-defined character then engages with an external force, creating a conflict: should she yield to Arnold or attempt to save herself? The story reaches its climax when Connie's will is overpowered by Arnold, leading her to submit to his sinister intentions. Perhaps the most unusual aspect of the story's structure is its lack of resolution.

The action abruptly concludes as Connie approaches Arnold. The unresolved fate of Connie amplifies the story's atmosphere of violence, where horror is implied but never explicitly depicted. Arnold's foreboding remarks, such as his desire to "come inside you where it's all secret" and to show Connie "what love is like," hint at rape, yet he is never shown committing this violent act against Connie. Similarly, Connie's expressions of regret, like "I'm not going to see my mother again" or "sleep in my bed again," suggest her awareness of a possible murder. However, the absence of a definitive conclusion has sparked significant debate in critical essays about the story. Some writers argue that Connie is killed, while others believe she survives. Certain critics refer to Oates's inspiration from an Arizona murderer she read about in Life magazine to argue for Connie's certain death. Conversely, critic Larry Rubin offers a different interpretation, suggesting that the entire encounter with Arnold is a dream of Connie's. According to this view, the story's ambiguous ending represents Connie waking up from one of her "trashy daydreams." The unresolved ending intensifies the horror by extending the suspense long after the reader finishes the story.

Numerous critics have viewed Arnold Friend as a representation of a broader concept or force, such as the devil, death, or sexuality. Similarly, Connie has been interpreted as symbolizing various things: Eve, troubled youth, or spiritually unenlightened humanity. These interpretations are supported by Oates's original title for the story, "Death and the Maiden," which she chose to suggest "an allegory of the fatal attractions of death (or the devil)" for a young woman seduced by her own vanity. However, Oates notes that during her revisions, her focus shifted towards a more realistic portrayal of her characters and their circumstances.

Several images provide readers with insight into Connie's perspective. These images often relate to popular music, which serves as a backdrop throughout the story and takes on a near-sacred importance for Connie, as "none of them bothered with church." The story "Where Are You Going, Where Have You Been" is subtitled "For Bob Dylan," and at least one critic has noted the resemblance between Arnold's car and the "magic swirling ship" mentioned in Dylan's 1960s song "Mr. Tambourine Man." Connie believes that life and love will be "the way it was in movies and promised in songs," and this simplistic faith in popular music's messages blinds her to Arnold Friend's true nature until it is too late to escape.

Arnold also uses song lyrics to seduce Connie. In a "half-sung sigh," he refers to her as "my sweet little blue-eyed girl," possibly alluding to the Van Morrison song "Brown-Eyed Girl." In reality, Connie has brown eyes, and this misstatement further reveals that Arnold is not what he appears to be.

This story was initially published by the literary journal Epoch in 1966 and later included in Oates's 1970 short story collection, The Wheel of Love. Its acclaim was immediate and undeniable, so much so that by 1972, critic Walter Sullivan remarked that it was "one of her most widely reprinted stories and justly so." In addition to its frequent appearances in textbooks and anthologies, Oates herself republished it in 1974 as the title story for Where Are You Going, Where Have You Been?: Stories of Young America.

The collection's subtitle highlights Oates's enduring interest in adolescence, particularly the psychological and social upheaval that characterizes this challenging phase. Her fascination with these subjects, combined with her acute awareness of the unique pressures facing teenagers in modern society, is clearly visible in "Where Are You Going, Where Have You Been?" Many consider this story to be one of Oates's finest works. Scholar G. F. Waller even calls it "one of the masterpieces of the genre." Oates's realism often receives such high praise; both critics and readers have admired the portrayal of the story's main character, Connie, as a typical teenager with whom readers can relate, dislike, or even pity. Arnold Friend's manipulative dialogue and its psychological impact on a vulnerable teenager are equally convincing. Critics also commend the story for its vivid language, use of symbolism, and an ambiguous ending that invites multiple interpretations of its meaning. In 1988, the story was adapted into a film titled Smooth Talk.

References to popular music and slang situate the events in "Where Are You Going, Where Have You Been?" in the mid-1960s. The small-town setting reflects a typical suburban environment, featuring familiar landmarks such as a shopping plaza and a drive-in restaurant. This setting is further detailed through the description of the three-year-old "asbestos 'ranch house'" where Connie resides. The seemingly harmless setting contrasts sharply with the violence hinted at in the story, intensifying the reader's sense of unease. The minimal description of the setting helps to universalize the story's themes, suggesting that Connie's lack of identity is a byproduct of modern suburban culture. Although the exact location of the story is not crucial, the radio show Connie listens to, the "XYZ Sunday Jamboree," might reference radio station WXYZ in Detroit, where Oates lived when she wrote the story.