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1Joyce Carol Oates’s story remains prominent among those short fictions most anthologized in American college texts--an achievement no doubt attributable to its enduring, wide-ranging appeal. Aside from having been made into Tom Cole’s screenplay and Joyce Chopra’s much-admired film SmoothTalk, the twice-award winning story has recently become the subject of a well-resourced casebook edited by Elaine Showalter; and it remains a fixture, even featured, in such first-line texts as Abcarian and Klotz’s Literature; Barnet, Berman, Burto, and Cain’s re-edition of Literature; Hans P. Guth and Gabriele L. Rico’s DiscoveringLiterature; Lee Jacobus’s Literature; Kirzner and Mandell’s Literature, where it is featured in a “Fiction Casebook”; and Ann Charters’ The Story and Its Writer as well as her (and Samuel Charters’) Literature and Its Writers. In the last regard it is also a staple in short fiction anthologies such as Bohner and Dougherty’s Short Fiction and Pickering’s Fiction 1001. Although highly regarded as a poet, essayist, novelist, playwright, and short fiction writer, Oates is best known to the general public as the author of “Where Are You Going, Where Have You Been?” Consequently, although its first-time readers, typically college freshmen students, have been guided throughthe story’s seemingly inexhaustible trove of suggestive meanings, its idiosyncratic styling weaves, within its varied richness, a pattern worth studying that brings together distinctive elements of theme, characterization, structure, imagery, and perspective in a format well ingrained in the American popular imagination. This pattern, although I have taught several different approaches to the story over the years, invokes something like a community of assent in young readers, who dispute far more among other interpretations.2
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