![]() ![]() But this cliched plot is not, of course, what one reads a McCarthy novel for. Grady falls in love with the owner's beautiful daughter-a disaster that leads in succession to arrest and Mexican jail and murder in self-defense. Along the way, they pick up an urchin named Blevins and arrive finally at a hacienda, where they're hired to break horses. Here, John Cole Grady is a 1930's East Texas teenager, abandoned by his parents' troubles, who sets out with his pal Rawlins to ride across the border to Mexico. More recently, ever since McCarthy turned into a high-class cowboy novelist, the fatality is, understandably, more spread out-punctured by boredom and ennui and long, lonesome plains. In his more gothic early works, this fatality had a hanging-moss quality that seemed to brush your face invisibly but chillingly as you worked your way through his books. ![]() ![]() McCarthy's work (Blood Meridian, 1985, etc.) is essentially about fatality: grotesque human acts that lack self-direction, that seem to be playing out a design otherwise established. ![]()
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