The Short Stories Good Country Peopl by Flannery OConnor and Where Are You Going, Where Have You Been by Joyce Carol Oates - Essay Example

Conflict Introduction The short stories “Good Country People” by Flannery O’Connor and “Where Are You Going, Where Have You Been” by Joyce carol Oates present a number of conflicts. The conflict in the two short stories that will be discussed is individual versus individual. This conflict of individual versus individual in the two texts will be analyzed in the context of symbolisms, tone and irony. Symbolism in “Good Country People” The first expression of symbolism that readers notice in “Good Country People” is in the naming of the characters. Character names have clear symbolic connotations. These characters Mrs. Freeman which is symbolism for free man. Mrs. Freeman works for Mrs. Hopewell, symbolism for hope well. Therefore, through her name is Freeman, she is not free. Mrs. Hopewell likes to use the phrase “nothing is perfect” to define herself or other people. However, she rarely lives under this doctrine, for example, her daughter Joy (symbolism for happiness) also called Hulga asks her to accept her juts the way she is, something that Mrs. Hopewell is unable to get herself to do. Joy changed her name to Hulga, symbolism for ugly when she had an accident that saw her losing her leg. Tone in “Good Country People” The story presents a deeply ironic and sardonic tone. The title for instance wrongly negates the fact that there are many bad country people, especially salesmen. Then there is Manley Pointer who deceives both Mrs. Hopewell and her daughter Joy Hulga, and ends up stealing Joy’s leg. Manly portrays that ironic tone because he is a bible man on one hand and a con artist on the other. The story also portrays a satirical tone because of the name “Good Country People” because people in that town do not have the qualities of what would be a good country person. Indeed, people are not as honest as they appear to be, and O’Connor manages to remarkably portray the fact that people put on a façade or two faces. The tone is mostly evident in Manley and Hulga, especially in the way they exhibit treacherous motives towards each other and also towards other people. Irony in “Good Country People” The story “Good Country People” is entirely ironic. This is the most evident literature technique used by the writer. Irony has been mostly revealed by three characters who the writer gives an image of “deformed” people. The three figures are shrewd and dishonest, as they behave abnormally to fulfill their hallow spirit. The writer also uses situational irony. Mrs. Hopewell promises herself that she is in control of things and that everything will go well, but ironically, there is simply nothing that goes well around her. On his part Manley masqueraded as a bible seller but at the end of it, it becomes clear that he does not even believe in anything, “I have been believed in nothing since I was born.” (O’Connor 114). He also deceives Hulga and steals her leg. The title “Good Country People” is also ironic, because the people are full of deceit and are willing to trample on each other’s rights and state of being for their own ends. Contrast of individual versus individual in the literary techniques used Contrast of individual versus individual can be found in the story’s symbolism in the characters names. Mrs. Freeman (symbolism for free man) is not a free person because she works for Mrs. Hopewell. Hopewell here has also been used as symbolism for hope well. However, she does not always hope well for others or herself. When her daughter asks her to accept her just the way she is she is unable to, revealing a contrast in these relationships. This type of contrast is also evident in the tone used by the writer where the characters are two faced people who deceive and use each other. It is can also be found in the story’s irony because of the characters whose characters are different from what their names indicate. They are shrewd and deformed people who behave abnormally to each other to fulfill their selfish interests. Symbolism in Where Are You Going, Where Have You Been” Symbolism has been used in many instances in this story. The writer uses symbolism through Connie’s house telephone. Arnold dissuades her against picking up the telephone with the intention of calling for help, warning that he will take his anger out on her family. The telephone has been used to symbolize Connie’s dilemma of leaving her family to be harmed or protecting herself. When she chooses to protect herself and picks the telephone, the telephone becomes “clammy and heavy and her fingers groped down to dial but were too weak to touch it (Oates, 11). The choice of not using the telephone symbolizes Connie’s lover for her family. Another symbol is in Arnold, the antagonist, who the writer uses to symbolize weakness among young girls to the lure of a man with seductive swagger. A man of class and style, Arnold makes girls fall for him, them not realizing that he is an evil man. Connie trusts this stranger who takes advantage of her taking away her innocence. The writer uses Arnold as a symbol of the devil’s temptation and manifestation of evil. Tone in “Where Are You Going, Where Have You Been” The story is told from Connie’s viewpoint; therefore, it is wholly sympathetic towards her and generally explores her feeling and thoughts. Being the protagonist the writer in a sense maintains her liking affection for Connie, even when criticizing the superficial nature of Connie’s romantic notions. The tone of Connie’s vivid and sensual daydreaming are characterized by contrast in the dismissive tone that her mother takes towards those fantasies. The tone takes a serious turn with the threat of escalation of violence when Connie encounters with Arnold. Irony in “Where Are You Going, Where Have You Been” The title “Where Are You Going, Where Have You Been” is ironic when interpreted to express the question that many parents as of their child. However, in Connie’s case, her parents seem unconcerned, and never ask her of what her plans are or where she has been. Connie’s mother place in her life as the story depicts involves constantly criticizing her, he father is also emotionally and mentally unavailable. Arnold Friend’s name is used ironically, because he befriends Connie with ulterior motives that become revealed when he takes advantage of her and rapes her. He does something a friend should not do, and passes as a devilish person who besides taking away a young girl’s innocence, he also causes her to abandon her parents. Contrast of individual versus individual in the literary techniques used The use of symbolism in this story points to some contrast of individual vs. individual. The telephone is used when Connie realizes who Arnold is, and he warns her against using the telephone to call for help. The telephone is used to symbolize her helplessness in the hands of this individual who was just about to take advantage of her. The writer initially uses a sympathetic tone, which turns into serious tone when Connie encounters Arnold; this change of tone is used to demonstrate that contrast of individual vs. individual. Irony also points to some elements of this type of contrast. Arnold Friend is not exactly a friend as his name suggest, but an evil dangerous man who uses his lures to take advantage of young girls. Conclusion The two texts use the element of the contrast of individual versus individual in a similar fashion. The most evident expression of contrast is with the way the writer names their characters. In “Good Country People,” the writer uses such names as Freeman, Joy, Hopewell and Manley. In “Where Are You Going, Where Have You Been” the main antagonist is called Arnold Friend. The two writers use a sense of contrast in the two stories to show how individual put on a façade to draw people to get close to them only to violate these unsuspecting people. It is also used to express how people don’t mean what they say to others. References O’Connor, F. (2007). Good Country People. Literature The Human Experience. Massachusetts: Bedford. Abcarian, R. and Klotz, M. pp. 100-114. Oates, J. C. (1994). Where Are You Going, Where Have You Been. 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