In many faiths. the major representation of an evil spirit. swayer of Hell. and challenger of God is of class the Devil. His power to straiten worlds both with physical illness and with religious corruptness is incomprehensible. However. the thought of a adult male with such power and cognition has been used in narratives and movies likewise. In Joyce Carol Oates’ short narrative. “Where Are You Traveling. Where Have You Been? ” Oates depicts Arnold Friend as the Devil ; we can see this through his physical description. unusual seduction. and his supernatural cognition of Connie.

The bodily characteristics of Arnold Friend suggest he is the Satan in camouflage. During the whole event. Connie recognizes the manner Arnold Friend “wobbled in his high boots” ( 196 ) . She believed that he may hold been a bibulous stumbling adult male until she identifies “one of his boots was at a unusual angle. it pointed out to the left. but at the ankle” ( 197 ) . Nevertheless. Connie continues to analyze his boots. and comes to the decision that “his pess did non travel all the manner down” ( 197 ) . Illustrations of the Devil propose that he walks in a dead set mode ; legs twisted in a eccentric manner. and have pess that angle into caprine animal hooves. A clear mention to the Devil is present in the signifier of Arnold Friend walking manner and visual aspect of his boots.

Coupled with the physical characteristics. Arnold Friend’s garb implies an excess bed of his camouflage. In most narratives and movies. the Devil is ever among us. but in camouflage. By dressing as a adolescent. he is able to give the feeling that they both are comparatively the same age. and is able set a common land with Connie. For case. Connie enjoyed “the manner he dressed. which was the manner all of them dressed: tight faded denims stuffed into black. scuffed boots. a belt pulled his waist and showed how thin he was” ( 193 ) . Arnold Friend uses this expression to derive Connie’s confidence of him. However. Connie seems to pay no attending to it because he appears to look a batch like a common male child.

Equally of import is the usage of Arnold Friend’s cryptic dark glassess to hide his individuality. The metallic glasses merely give off a mirror-like image. but in illumination which Connie felt uncomfortable with “because the spectacless made it impossible for her to see merely what this male child was looking at” ( 192 ) . He could hold been gazing at her figure. behind her. or consecutive into her spirit. The eyes that were masked behind the spectacless were “pale. like holes that were non in black but alternatively of light” as if he were ever have oning his spectacless to conceal his individuality ( 193 ) . In most narratives of the Devil. the usage of vesture and accoutrements to hide his true individuality is used ; the same is true in Oates’ narrative.

Besides depicted in narratives and movies of the Devil. he frequently uses points of desire against the characters to entice his victims into making as he pleases. Arnold Friend uses his brilliantly painted unfastened bus as a tool to allure Connie into traveling for a drive with him. Connie finds some wit in the written messages. but particularly the “DONE BY A CRAZY WOMAN” on the rear wing ( 192 ) . In fact. she finds every portion of his bus attractive: its mirth. its luster. and its deep mysteriousness. However. the same thought is true with the narrative of Adam and Eve. The Devil. which is disguised as a serpent. used the desire of fruit to carry Eve to withstand God’s wants.

In fact. if the Devil is traveling to catch the attending of his victims. he must foremost talk in a familiar nature to derive their assurance. Arnold Friend uses Connie’s linguistic communication. which is wireless. to rock her confidence. He continues talking “in a simple lifting voice. precisely as if he were declaiming the words to a vocal. ” a manner that she can link with ( 193 ) . Shortly after. he begins to follow “the voice of the adult male of the wireless. ” it becomes clear that she begins to acknowledge to chant of his voice ( 195 ) . Therefore. communicating through Connie’s linguistic communication brings more association between her and Arnold Friend.

As a consequence of deriving his victim’s assurance. the Devil must so blandish them. stating them precisely what they want to hear. Arnold Friend attempts to blandish Connie explicating “I took a particular involvement in you. such a reasonably girl” so reassures her with a smiling ( 193 ) . During. Connie emphasizes how much everyone prefers her sister June over her by saying “If June’s name was mentioned her mother’s tone was O.K.ing. and if Connie’s name was mentioned it was disapproving” ( 191 ) . Arnold Friend hints he wants nil to make with her sister. “that hapless bitch-nothing like you. sweetheart! ” . and in a manner that is exactly what Connie wants to hear ( 195 ) . In any instance. asking that he prefers Connie over her sister or any miss for that mode. Arnold Friend maintains the conversation with her and continues to rock her in his favour.

In add-on to the Devil’s bag of fast ones. he frequently knows all there is to cognize sing his quarry. and his supernatural cognition begins to bind everything together. Arnold Friend decidedly seems to possess such powers. and begins to state Connie he knows her “name and all about you. tonss of things” ( 193 ) . He starts to specifically depict how her household is “drinking. sitting around” at the barbeque ( 195 ) . Yet. the manner he goes about uncovering it to her seems eccentric.

For illustration. he instigates Connie with the thought that he can visualise by “squinting as if he were gazing all the manner to town and over to Aunt Tillie’s back yard” ( 195 ) . In fact. he begins to exemplify “there is your sister in the bluish frock. and high heels” . and “your mother’s assisting some fat adult female with the corn” ( 195 ) . For this ground. Arnold Friend appears to be a crazed person. who follows and stalks his topics. but Oates gives the feeling of a great projection of Satan.

All things considered. Oates’ usage of Arnold Friend to stand for the Devil and continue an illustration of immorality. The flooring narrative of a immature miss taken off to hell. but non by a adult male she knows yet by a adult male who came from no where. This seems like a narrative that could be far from world. but the Devil will for infinity come from snake pit to roll up his psyche when life slips into presence of wickedness.

McMahan. Elizabeth. Robert Funk. and Susan X. Day. Literature and the Writing Process. Upper Saddle River: Prentice Hall PTR. 2006. 188-99.