The pulse grenade had terrified Nutmeg when she had first seen it bounce into the ship, now it had become an unlikely savior for her and she was grateful for it. The only thing keeping her on board was the fact that the ship was so crap that the doors wouldn't even close now that their electrics were fried. The angry bug had not been easy to convinced to follow her lead, but she had managed. He wasn't her main concern, even with his angry and violent outburst, Amaradiocus were far scarier and they weren't the worst corporation that she knew of, tenacious but not the worst. Nutmeg had no doubt that other operations would be watching from afar with an air of caution. Indeed the group that attacked them in the lot had been far too amateur to be a fully fledged unit. It was more likely that they were a group of hopefuls attempting to prove themselves. Createnark had no shortage of individuals looking for a break into the corporate world and it would be a safe bet that this wouldn't be the last encounter.
"You do know we are being followed?" Nutmeg dropped into the copilot seat uncomfortably. It was too wide and flat for her shape.
The Thoracian gave her a glance, as he flicked on the intercom and spoke two languages, neither of which she understood. With a flick of his hand a heavy weight suddenly assailed her and it took her a moment to realize it was her own body under what was double gravity.
"What... Are you... Doing?" She managed to hiss between breaths.
"Losing your buddies back there." Xacks sneered at her. "Unless you would rather go back there and let them in?"
Too busy trying to breath beneath the crushing weight, she ignored his swipe at her, to instead concentrate on where he was taking her. The large complexes came a...
... middle of paper ...
...were driving such a clapped out ship."
"Fuck you!" Xacks was obviously unimpressed with her view but his retort lacked its former venom.
"Honestly, right now I could use your skills." Nutmeg played up to him with a smile. "But if you insist on keeping this ship it is going to need an upgrade."
"It will be awhile before we can leave here safely." Xacks informed her.
"I can have the stuff delivered here and it looks like I have nothing better to do for some time." She smiled happily, it was finally working in her favor and she let her mind wander to Zero.
He would have to wait longer than expected, it was unfortunate but there was no other way. She hoped his self preservation would keep him safe in the bowels of the manufacturing district. If anything the extra time would work to her advantage and she looked forward to seeing how the reunion was going to play out.
“I hope your all good at story transitions. It’s two minutes so write quick.” Elizabeth shrugged.
started to recognize it, she was trying to beat it back with sheer will power.
...or herself. She had just confined to what he wanted to hear and see since she smiled at him while saying this. She could have realized that he took his time coming back and gave up her desperate attempts to keep them together and given up hope that he will be there after the procedure is done.
In Joyce Carol Oates’ short story, “Where Are You Going, Where Have You Been?,” Oates employs motifs, symbolism, and allegories to convey her holistic tone of disapproval towards the actions and outlook of the main character, Connie. Motifs are seen primarily in the references to music that channel Connie’s escape out of reality. Symbolism is also evident in the piece through the setting of Connie’s home which represents her only source of protection. The overall allegorical nature of the piece accentuates the ominous relationship between Connie and Arnold and foreshadows the ending. Through analyzing the active usage of motifs, symbolism, and allegory throughout the work, one can gain a clearer understanding of how these elements
to wait until the nose returned to the carriage. He waited, shaking as though he had
In her short story Where Are You Going, Where Have You Been, Joyce Carol Oates presents us with a well known maxim: children cannot wait to get older. Tired of her boring and powerless childhood, Connie, the main character, searches for cheap thrills she likens to adulthood. Thus, Connie’s surreal experience (Arnold Friend’s sudden and unwanted appearance in his car) represents a suppressed fear of the inevitable and unknown - growing up.
Joyce Carol Oates’s “Where Are You Going, Where Have You Been?” tells the tale of a fifteen year old girl named Connie living in the early 1960’s who is stalked and ultimately abducted by a man who calls himself Arnold Friend. The short story is based on a true event, but has been analyzed by many literary scholars and allegedly possesses numerous underlying themes. Two of the most popular interpretations of the story are that the entire scenario is only dreamt by Connie (Rubin, 58) and that the abductor is really the devil in disguise (Easterly, 537). But the truth is that sometimes people really can just be in the wrong place at the wrong time. Connie, a victim of terrifying circumstance will be forever changed by her interactions with Friend.
In the midst of a heartbreak, crisis, celebration, or milestone, we use music to help express the emotions that we feel or may have felt during that time. Music allows for us to escape our reality, though only for a moment in time. It has an adverse reaction on our emotions. Music can trigger feelings regarding a past experience, a loved one, etc. Music is universal. Regardless of the lyrics, tone, or time period of the song music is an incredibly powerful work of art deeply connected with human emotions. Joyce Carol Oates uses pop music as a symbol and motif throughout her short story “Where are you going, Where have you been?” In her short story, Joyce Carol Oates' music references illustrate Connie's life and journey throughout the story.
A nagging mother, an overachieving sister, and a fifteen year old girl that just wants to live. Joyce Carol Oates's short story, "Where Are You Going, Where Have You Been?", is a story that portrays almost every teenager girls life. The desire to get out and experience the world is what creates a whole new conflict for the main character, Connie. Connie is a protective daughter that will go to great lengths to save her family.
“Good luck with that,” Daniel's voice slightly sarcastic and he turned back around, going back to his sketchbook. Daniel hoped she would leave, abandon her quest to find a book in the Special Collection gallery and go back to her dorm, leaving him alone in his own thoughts once
In the short story “Where Are You Going? Where Have You Been?”, by Joyce Carol Oates, the use of the symbolism of Connie’s clothes, her fascination with her beauty, Arnold Friend’s car and Arnold Friend himself help to understand the story’s theme of evil and manipulation. The story, peppered with underlying tones of evil, finds Oates writing about 15-year-old Connie, the protagonist of the story, a pretty girl who is a little too into her own attractiveness, which eventually gets her into trouble with a man named Arnold Friend. The story is liberally doused with symbolism, from the way Connie dresses to the shoes on Arnold Friend’s feet. In “Where Are You Going? Where Have You Been?” the reader can pick up on some of the symbols very easily, while others need deeper thought. The subtle hints of symbolism throughout the story create a riveting tale that draws the reader in. Connie finally succumbs to Arnold Friend at the end of the story, it then becomes obvious that he represents the devil and the symbolism of her clothing and Arnold’s car all tie together to create a better understanding of the story.
"No guns though, even they could not be trusted with guns. Guns were for the guards…"
“He had seen many that weighed more than a thousand pounds... Now alone, and o...
“Yeah, I do think it was a little unfair,” I replied. “But at least we know we are going to get killed and don’t really have to worry about it.”
"Sky, I know that's you in there." I kept walking, not feeling like dealing with her today. But then, when did I ever? There were soon foot steps falling close behind mine. Someone grabbed my arm and spun me around, facing me directly towards them.