Telling the tale as a way of looking back on his life, the protagonist allows the reader to follow his life's lessons as they are learned, imparting upon the audience all the emotional pain and suffering endured for each one. The primary focal point is the young man's love for a completely unattainable girl who unknowingly riles the man into such a sexual and emotional frenzy that he begins to confuse "sexual impulses for those of honor and chivalry" (Wells, 1993, p. 127). It is this very situation of self-deception upon which both stories concentrate that brings the young man to his emotional knees as he is forced to "compensate for the emptiness and longing in the young boy's life" (Norris 309). As much as Updike's rendition is different from Joyce's original work, the two pieces are as closely related as any literary writings can be. Specifically addressing details, it can be argued that Updike missed no opportunity to fashion A & P as much after Araby as possible. For example, one aspect of womanhood that fascinates and intrigues both young men is the whiteness of the girls' skin. This explicit detail is not to be taken lightly in either piece, for the implication is integral to the other important story elements, particularly as they deal with female obsession. .

             Focusing upon the milky softness and "the white curve of her neck"(Joyce 32) demonstrates the overwhelming interest Joyce's protagonist place in the more subtle features; as well, Updike's character is equally as enthralled by the sensuality of his lady's "long white prima-donna legs" (A & P 188). One considerable difference between Updike's A & P and Joyce's Araby is the gap between the young men's ages, with Updike's embarking upon his twenties while Joyce's is of a significantly more tender age. This divergence presents itself as one of the most instrumentally unique aspects separating the two stories, as it establishes a considerable variance between the age groups.