Cormac McCarthy - All The Pretty Horses

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In All the Pretty Horses, Cormac McCarthy begins his Border Trilogy with a coming of age tale that is a departure from the bizarre richness and mysterious violence of his early novels, yet in many ways preserves the mystery and the richness in a more understated form. Like Blood Meridian, this novel follows a young man's journey to the regions of the unknown. John Grady Cole, more heroic than the protagonists of McCarthy's earlier novels, confronts the evil that is an inescapable part of the universe as well as the evil that grows out of his own ignorance and pride. His story is told in a style often restrained and simple, embedded with lyrical passages that echo his dreams and memory.
In the spring of 1948 on a small Texas ranch, sixteen year old John Grady Cole attends the funeral of his grandfather, with whom he has lived since his parents' separation. The grandfather's ranch has been left to John Grady's mother, a small-time actress who has no interest in it and will sell it. John Grady's father, psychologically damaged by World War II and now physically ill as well, tells his son goodbye. With no apparent future in Texas, and sensing the threat of the new era to the traditional life he values, John Grady urges his old friend Rawlins to accompany him to Mexico. There, John Grady will find that his innocence, or ignorance, will ultimately lead him close to destruction.
Before reaching the border they meet Jimmy Blevins, a dangerous young boy on a magnificent horse. Even though Cole and Rawlins do not trust Blevins and are sure his horse is stolen, they allow him to join them despite their doubts. As they ride into Mexico, they realize that they are no longer in a world that they can understand. When Blevins' clothes and horse disappear during a thunderstorm, they search a nearby Mexican town, where they find the clothes and finally the horse. In spite of Rawlins' voiced forebodings, Blevins steals the horse back, and as John Grady and Rawlins flee the town Blevins gallops past them, pursued by armed men.
John Grady and Rawlins ride south, coming at last to a ranch, the Hacienda de Nuestra Senora de la Purisima Conception. As they talk with the vaqueros about the possibility of employment, John Grady sees a beautiful girl on a black horse, Alejandra, the daughter of hacendado Don Hector Rocha y Villareal. The heir of an aristocratic family, Don Hector is avidly interested in breeding wild mountain horses with his own stock, so John Grady and Rawlins join the vaqueros; John Grady amazes everyone with his ability to break the wild horses quickly and gently.
When Don Hector questions Cole about his past, he omits the episode with Blevins and the fact that he and Rawlins may now be wanted as accomplices in Blevins's horse theft. Concerned about his blossoming relationship with Alejandra, Duena Alfonsa, Don Hector's aunt and Alejandra's godmother, warns John Grady away from the rebellious girl, and informs him that Don Hector will never allow her to marry an American, especially a poor one. But Alejandra comes to him one night and they become lovers.
A few days later John Grady and Rawlins are arrested and taken to a jail in Encantada, where Blevins is already imprisoned for the murder of three men. While the three Americans are transported to the state prison at Saltillo, Blevins is taken from the group and shot. At the prison, they are questioned and beaten, and Rawlins is injured seriously. John Grady, attacked by another prisoner, whom he must kill, learns that evil exists not only in the world but in himself. When he and Rawlins are suddenly released as mysteriously as they were arrested, Rawlins returns to Texas.
But John Grady goes back to La Purisima to search for Alejandra, who is not there. Once again Duena Alfonsa makes clear to him the impossibility of the match. She tells her own story of the power of ignorance and evil (her love for a man who was killed by a mob after helping depose the dictator Diaz) and of her determination to protect Alejandra. Although John Grady does meet Alejandra one last time at a hotel in Zacatecas, it is only as a farewell: she chooses her family's approval (and perhaps their money). In pain, Cole returns to Encantada where he finds Blevins's horse, innocent like all animals and yet the cause of much death and loss. John Grady captures both the horse and the brutal police captain who shot Blevins, and heads homeward. En route, the captain is seized by brigands with a score to settle with him, and John Grady finally returns to Texas.
He finds even less there than before: his father and his childhood nurse are both dead. He rides on with the stolen horse, seeking to restore it to its rightful owner. John Grady has learned, but not yet enough; he has left home and returned a changed man, but there is no home to receive him. All the Pretty Horses is a hero's quest without a neat resolution, a book in which the strange light of mythic struggles shines through the quick-paced adventure.
The Border Trilogy continues with Volume Two, The Crossing, and concludes with the third volume, Cities of the Plain.

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Se llama la periquera, he said.

They followed him down the catwalk. A sense of some brooding and malignant life slumbering in the darkened cages they passed. Here and there along the tiers of catwalks on the far side of the quadrangle a dull light shaped out the grating of the cells where votive candles burned the night long before some santo. The bell in the cathedral tower three blocks away sounded once with a deep, an oriental solemnity.

They were locked into a cell in the topmost corner of the prison. The ironbarred door clanged shut and the latch rattled home and they listened as the guard went back down the catwalk and they listened as the iron door shut and then all was silence.

They slept in iron bunks chained to the walls on thin trocheros or mattress pads that were greasy, vile, infested. In the morning they climbed down the four flights of steel ladders into the yard and stood among the prisoners for the morning lista. The lista was called by tiers yet it still took over an hour and their names were not called.

I guess we aint here, said Rawlins.

Their breakfast was a thin pozole and nothing more and afterward they were simply turned out into the yard to fend for themselves. They spent the whole of the first day fighting and when they were finally shut up in their cell at night they were bloody and exhausted and Rawlins' nose was broken and badly swollen. The prison was no more than a small walled village and within it occurred a constant seethe of barter and exchange in everything from radios and blankets down to matches and buttons and shoenails and within this bartering ran a constant struggle for status and position. Underpinning all of it like the fiscal standard in commercial societies lay a bedrock of depravity and violence where in an egalitarian absolute every man was judged by a single standard and that was his readiness to kill.

They slept and in the morning it all began again. They fought back to back and picked each other up and fought again. At noon Rawlins could not chew. They're goin to kill us, he said.

John Grady mashed beans in a tin can with water till he'd made a gruel out of it and pushed it at Rawlins.

You listen to me, he said. Dont you let em think they aint goin to have to. You hear me? I intend to make em kill me. I wont take nothin less. They either got to kill us or let us be. There aint no middle ground.

There aint a place on me that dont hurt.

I know it. I know it and I dont care.

Rawlins sucked at the gruel. He looked at John Grady from over the rim of the can. You look like a goddamn racoon, he said.

John Grady grinned crookedly. What the hell you think you look like?

Shit if I know.

You ought to wish you looked as good as a coon.

I caint laugh. I think my jaw's broke.

There aint nothin wrong with you.

Shit, said Rawlins.

John Grady grinned. You see that big old boy standin yonder that's been watchin us?

I see the son of a bitch.

See him lookin over here?

I see him.

What do you think I'm fixin to do?

I got no idea in this world.

I'm goin to get up from here and walk over there and bust him in the mouth.

The hell you are.

You watch me.

What for?

Just to save him the trip.

By the end of the third day it seemed to be pretty much over. There were both half naked and John Grady had been blindsided with a sock full of gravel that took out two teeth in his lower jaw and his left eye was closed completely. The fourth day was Sunday and they bought clothes with Blevins' money and they bought a bar of soap and took showers and they bought a can of tomato soup and heated it in the can over a candlestub and wrapped the sleeve of Rawlins' old shirt around it for a handle and passed it back and forth between them while the sun set over the high western wall of the prison.

You know, we might just make it, said Rawlins.

Dont start gettin comfortable. Let's just take it a day at a time.

How much money you think it would take to get out of here?

I dont know. I'd say a lot.

I would too.

We aint heard from the captain's buddies in here. I guess they're waitin to see if there's goin to be anything left to bail out.

He held out the can toward Rawlins.

Finish it, said Rawlins.

Take it. There aint but a sup.

He took the can and drained it and poured a little water in and swirled it about and drank that and sat looking into the empty can.

If thev think we're rich how come they aint looked after us no better? he said.

I dont know. I know they dont run this place. All they run is what comes in and what goes out.

If that, said Rawlins.

The floodlights came on from the upper walls. Figures that had been moving in the yard froze, then they moved again.

The horn's fixin to blow.

We got a couple of minutes.

I never knowed there was such a place as this.

I guess there's probably every kind of place you can think of.

Rawlins nodded. I wouldnt of thought of this one, he said.

It was raining somewhere out in the desert. They could smell the wet creosote on the wind. Lights came on in a makeshift cinderblock house built into one corner of the prison wall where a prisoner of means lived like an exiled satrap complete with cook and bodyguard. There was a screen door to the house and a figure crossed behind it and crossed back. On the roof a clothesline where the prisoner's clothes luffed gently in the night breeze like flags of state. Rawlins nodded toward the lights.

You ever see him?

Yeah. One time. He was standin in the door one evenin smokin him a cigar.

You picked up on any of the lingo in here?

Some.

What's a pucha?

A cigarette butt.

Then what's a tecolata?

Same thing.

How many damn names have they got for a cigarette butt?

I dont know. You know what a papazote is?

No, what?

A big shot.

That's what they call the dude that lives yonder.

Yeah.

And we're a couple of gabachos.

Bolillos.

Pendejos.

Anybody can be a pendejo, said John Grady. That just means asshole.

Yeah? Well, we're the biggest ones in here.

I wont dispute it.

They sat.

What are you thinkin about, said Rawlins.

Thinkin about how much it's goin to hurt to get up from here.

Rawlins nodded. They watched the prisoners moving under the glare of the lights.

All over a goddamned horse, said Rawlins.

John Grady leaned and spat between his boots and leaned back. Horse had nothin to do with it, he said.

That night they lay in their cell on the iron racks like acolytes and listened to the silence and a rattling snore somewhere in the block and a dog barking faintly in the distance and the silence and each other breathing in the silence both still awake.

We think we're a couple of pretty tough cowboys, said Rawlins.

Yeah. Maybe.

They could kill us any time.

Yeah. I know.

Two days later the papazote sent for them. A tall thin man crossed the quadrangle in the evening to where they sat and bent and asked them to come with him and then rose and strode off again. He didnt even look back to see if they'd rise to follow.

What do you want to do? said Rawlins.

John Grady rose stiffly and dusted the seat of his trousers with one hand.

Get your ass up from there, he said.

The man's name was Pérez. His house was a single room in the center of which stood a tin foldingtable and four chairs. Against one wall was a small iron bed and in one corner a cupboard and a shelf with some dishes and a threeburner gasring. Pérez was standing looking out his small window at the yard. When he turned he made an airy gesture with two fingers and the man who'd come to fetch them stepped back out and closed the door.

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