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"He laughed as if she had said something funny. He slapped his thighs. He was standing in a strange way, leaning against the car as if he were balancing himself. He wasn't tall, only an inch or so taller than she would be if she came down to him" (556).

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"Connie couldn't help but let her eyes wander over the windshields and faces all around her, her face gleaming with joy that had nothing to do with Eddie or even her breath with the pure pleasure of being alive, and just at that moment she happened to glance at a face a few feet from hers. It was a boy with shaggy black hair, in a convertible jalopy painted gold ... He wagged a finger and laughed and said, 'Gonna get you, baby'" (553).

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1) Oates modernizes the tale of "LRRH" to illuminate the dangers of deviating from the path of societal norms in order to ultimately reinforce gender expectations.
2) Oates modernly follows the tale of "LRRH" to demonstrate the consequences of deviating from social norms in order to warn against the dangers of nonconformity and rebelliousness. Thus, by convincing the reader that Connie's behavior is foolish, Oates ultimately reinforces the steadfastness of gender expectations in both 60s society as well as present day.
3) Oates uses the archetypal motifs of "LRRH" to illuminate the perseverance, and possible strengthening, of social norms in order to ultimately convey the idea that female gender expectations will never deviate from their set path.

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WAYG is very similar to Little Red Riding Hood

June = path
—— she is praised, "plain"
Connie = Red
—— deviate from June, chase dangerous temptations, foolishly sees temptations as good
Arnold = wolf
—— "shaggy hair," disguise, take Connie

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'fly-infested' and 'sacred' = the thing that tempts them and they think is so great is truly gross and bad

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'feel good to ignore him' = don't typically because it would be impolite and unladylike -- but now they can in knew fantasy world off the path

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'breathless with daring' = knows it is rebellious but is foolishly excited by it

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'slippery friendly' and 'sleepy dreamy' = fails to recognize danger because looks past to see what she wants to see

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'most things' but then lists all physical characteristics = temptation of physical attributes

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still doesn't recognize the danger on the path - Friend is hidden in disguise of temptation and comfort

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'that's my real name' = trying to convince himself

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'just at that moment' = as soon as happy she is met with the Wolf

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'slap thighs' = forced, awkward, fake, overdramatic

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enjoying time off of path = ignorant of consequences of deviation -- fun and nice

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not supposed to deviate so she finds things that aren't meant for her -- scary

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'broken glass' + 'amiable way' = dangerous and scary but considered friendly and kind

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like Wolf removing disguise -- evil

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like Wolf taking off disguise of Grandma

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'veins' + 'forty-year-old baby' = gross and strange

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like Wolf telling Red to come closer

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what she thought was safe was really dangerous

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taking Connie is a warning to deviants to behave like the Junes of the world

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Friend doesn't stalk the accepted girl

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don't behave like accepted --> 'trashy'

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June = path for Red

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'trashy daydreams' = dirty and gross + never going to happen

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'mother and mother's sisters' = all the women love her

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'and' = the list goes on and on

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Oates portrays Connie as a very ignorant and childish character to show convince us that the way she was behaving was not ok and that like ugh connie you dummy not omg this arnold guy is a freakin psycho

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"Then he began to smile again. She watched this smile come, awkward as if he were smiling from inside a mask. His whole face was a mask, she thought wildly, tanned down onto his throat but then running out as if he had plastered make-up on his face but had forgotten about his throat" (560).

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"She put her hands against her ears as if she'd heard something terrible, something not meant for her" (560).

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"There's your sister in a blue dress, huh? And high heels, the poor sad bitch —thing like you sweetheart!" (569).

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"Connie saw with shock that [Ellie] wasn't a kid either—he had a fair, hairless face, cheeks reddened slightly as if the veins grew too close to the surface of his skin, the face of a forty-year-old baby. Connie felt a wave of dizziness rise in her at this sight and she stared at him as if waiting for something to change the shock of the moment, make it all right again" (559).

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"She noticed most things about him, the tight jeans that showed his thighs and buttocks and the greasy leather boots and the tight shirt, and even that slippery friendly smile of his, that sleepy dreamy smile that all the boys used to get across ideas that they didn't want to put into words" (558).

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"Just for a ride, sweetheart" (557).

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"He took off the sunglasses and she saw how pale the skin around his eyes was, like holes that were not in a shadow but instead in light. His eyes were like chips of broken glass that catch the light in an amiable way" (557).

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"I wanta introduce myself, I'm Arnold Friend and that's my real name and I'm gonna be your friend, honey" (556).

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"She couldn't decide if she liked him or it he was just a jerk, and so she dawdled in the doorway and wouldn't come down or go back inside" (556).

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"Connie sat with her eyes closed in the sun, dreaming and dazed with warmth about her as if this were a kind of love, the caresses of love ... It was too hot" (554).

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Little Red Riding Hood could be hook in intro?

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Oates uses (fantastical allegory / a modern adaptation of the tale of "Little Red Riding Hood") to illuminate the dangers of deviating from society's dictated social norms, ultimately reinforcing the gender expectations of women and warning against deviants.

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"[June] was so plain and chunky and steady that Connie had to hear her praised all the time by her mother and her mother's sisters. June did this, June did that, she saved money and helped clean the house and cooked and Connie couldn't do a thing, her mind was filled with trashy daydreams" (552).

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"One night in mid-summer they ran across, breathless with daring, and right away someone leaned out a car window and invited them over, but it was just a boy from high school they didn't like. It made them feel good to be able to ignore him. They went up through the maze of parked and cruising cars to the bright-lit, fly-infested restaurant, their faces pleased and expectant as if they were entering a sacred building that loomed out of the night to give them what haven and what blessing they yearned for" (553).