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For almost three decades, Cormac McCarthy solidified his reputation as an American “writer's writer” with remarkable novelssuch as his Appalachian Tales, The Orchard Keeper, Outer Dark, Child of God, Suttree, and his terrifying Western masterpiece, Blood Meridian. Then, with the publication of All the Pretty Horses, the first work of his celebrated Border Trilogy in 1992, McCarthy's popularity exploded on to a world stage. As his reputation burgeoned with the publications of The Crossing and Cities of the Plain, the critical response to McCarthy has grown apace.
| Acknowledgements | ||
| List of contributors | ||
| Editor's introduction: Cormac McCarthy's canon as accidental artifact | ||
| A writer's view of Cormac McCarthy | 1 | |
| Prefiguring Cormac McCarthy: the early short stories | 15 | |
| They aint the thing: artifact and hallucinated recollection in Cormac McCarthy's early frame-works | 21 | |
| Like something seen through bad glass: narrative strategies in The Orchard Keeper | 37 | |
| Imposition and resistance in The Orchard Keeper | 55 | |
| The evolution of the dead girlfriend motif in Outer Dark and Child of God | 68 | |
| He's hell when he's well: Cormac McCarthy's rhyming dictions | 78 | |
| Detailing the wor(l)d in Suttree | 89 | |
| The seventh direction, or Suttree's vision quest | 100 | |
| Ruder forms survive: Cormac McCarthy's atavistic vision | 108 | |
| Older professions: the fourth wall of The Stonemason | 119 | |
| Cormac McCarthy's The Stonemason: the unmaking of a play | 141 | |
| McCarthy music | 157 | |
| I aint come back rich, that's for sure, or the questioning of market economies in Cormac McCarthy's novels | 171 | |
| The process of elimination: tracing the prodigal's irrevocable passage through Cormac McCarthy's southern and western Novels | 177 | |
| A false book is no book at all: the ideology of representation in Blood Meridian and the Border Trilogy | 185 | |
| De los herejes y huerfanos: the sound and sense of Cormac McCarthy's border fiction | 201 | |
| A certain but fugitive testimony: witnessing the light of time in Cormac McCarthy's Southwestern fiction | 209 | |
| Liberty beyond its proper bounds: Cormac McCarthy's history of the West in Blood Meridian | 217 | |
| Into the darkening land, the world to come: Cormac McCarthy's border crossings | 227 | |
| Mexico para los Mexicanos: revolution, Mexico, and McCarthy's Border Trilogy | 249 | |
| Female presence, male violence, and the art of artlessness in the Border Trilogy | 256 | |
| Games in the Border Trilogy | 269 | |
| The hands of yeet other puppets: figuring freedom and reading repetition in All the Pretty Horses | 272 | |
| The trapper mystic: werewolves in The Crossing | 288 | |
| The last stage of the hero's evolution: Cormac McCarthy's Cities of the Plain | 293 | |
| App | Index of character names in the novels | 303 |
| Bibliography | 386 | |
| Index | 395 |
Overview
For almost three decades, Cormac McCarthy solidified his reputation as an American “writer's writer” with remarkable novelssuch as his Appalachian Tales, The Orchard Keeper, Outer Dark, Child of God, Suttree, and his terrifying Western masterpiece, Blood Meridian. Then, with the publication of All the Pretty Horses, the first work of his celebrated Border Trilogy in 1992, McCarthy's popularity exploded on to a world stage. As his reputation burgeoned with the publications of The Crossing and Cities of the Plain, ...