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• W94381570 abstract "John Updike's penchant for appropriating great works of literature and giving them contemporary restatement in his own fiction is abundantly documented--as is fact that, among his favorite sources, James Joyce looms large.(1) With special affinity for Dubliners, Updike has, by common acknowledgment, written at least one short story that strongly resembles acclaimed Araby, not only in plot and theme, but in incidental detail. That story, 1960 You'll Never Know, How Much I Love You--like Araby--tells tale of poor, romantically infatuated young boy who, though obstructed by parental slowness, journeys innocent urgency, coins in hand, to seemingly magical carnival--only to find there, behind its facades, just sleazy, money grasping, sexually tinged reality that frustrates and embitters him. Both stories draw on Christian imagery of Bunyan's Vanity Fair episode to trace modern boy's passage from innocence to experience, and to expose some of pains and complexities of that passage. Notwithstanding Araby's cachet as one of great short stories in English language, at least two critics have found You'll Never Know, Dear to be a far more complex story.(2) What remains unacknowledged, I think, is that shortly after writing You'll Never Know, Dear, Updike made second fictional excursion to Araby. This time he transformed Joyce's latter-day Vanity Fair, not into cheaply exotic destination for starry-eyed youngster, but into richly resonant single setting for an older adolescent's sad tale: tale of modern supermarket. The resulting story, since its publication in 1962, has been Updike's most frequently anthologized: popular & Updike even signals his intention for us at outset, giving his story title that metrically echoes Joyce's: Araby . . . A & P. (Grand Union or Safeway would not suffice.) Like Araby, & P is told after fact by young man now much wiser, presumably, for his frustrating infatuation beautiful but inaccessible girl whose allure excites him into confusing his sexual impulses for those of honor and chivalry. The self-delusion in both cases leads quickly to an emotional fall. At 19, Updike's protagonist, Sammy, is good bit older than Joyce's--at opposite end of adolescence, it would seem. While in Joyce's boy we readily believe such confusion between gallant and profane, I think we needn't assume that Sammy is likewise unable to distinguish between two quite normal impulses. His attraction to girl in aisle is certainly far more anatomically and less ambiguously expressed than that of Joyce's boy to Mangan's sister. But it is Beauty that confounds issue. When human aesthetics come into play, when object of young man's carnal desire also gratifies him aesthetically, that is when confusion arises. In Irish-Catholic Dublin of 1890s,(3) Such youthful beauty not surprisingly invokes analogies between Mangan's sister and Queen of Heaven (though swinging of her body and the soft rope of her hair toss[ing] from to side [Joyce 30]), which captivate boy, hint at something less spiritual than Madonna worship). And while beauty's benchmarks in Sammy's more secular mid-century America are more anatomical than spiritual, Updike does have Sammy call his young femme fatal Queenie, and he does make her center of trinity of sorts, showing her two friends at one point huddl[ing] against her for relief (A & P 189). Once smitten, both young protagonists become distracted, agitated, disoriented. Joyce's turns impatient with serious work of life (Joyce 32). His teacher accuses him of idling. His heart leaps, his thoughts wander, his body responds like harp to words and gestures of Mangan's sister, which run like fingers . . . upon wires (31). Similarly, Updike's young hero can't remember, from moment he spots Queenie in aisle, which items he has rung up on cash register. …" @default.
• W94381570 created "2016-06-24" @default.
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• W94381570 date "1993-03-22" @default.
• W94381570 modified "2023-09-24" @default.
• W94381570 title "John updike's A & P': a return visit to araby" @default.
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