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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The tray clattered on the tiles. He realized he'd dropped it. He put his hand to his shirt. It came away sticky with blood and he wiped it on the side of his trousers. The cuchillero held the tray to his eyes to blind from him his movements. He looked to be adjuring him to read something writ there but there was nothing to see save the dents and dings occasioned by the ten thousand meals eaten off it. John Grady backed away. He sat slowly on the floor. His legs were bent crookedly under him and he slumped against the wall with his arms at either side of him. The cuchillero lowered the tray. He set it quietly on the table. He leaned and took hold of John Grady by the hair and forced his head back to cut his throat. As he did so John Grady brought his knife up from the floor and sank it into the cuchillero's heart. He sank it into his heart and snapped the handle sideways and broke the blade off in him.

The cuchillero's knife clattered on the floor. From the red boutonniere blossoming on the left pocket of his blue workshirt there spurted a thin fan of bright arterial blood. He dropped to his knees and pitched forward dead into the arms of his enemy. Some of the men in the hall had already stood to leave. Like theatre patrons anxious to avoid the crush. John Grady dropped the knifehandle and pushed at the oiled head lolling against his chest. He rolled to one side and scrabbled about until he found the cuchillero's knife. He pushed the dead man away and got hold of the table and struggled up. His clothes sagged with the weight of the blood. He backed away down the tables and turned and staggered to the door and unlatched it and walked wobbling out into the deep blue twilight.

The light from the hall lay in a paling corridor across the yard. Where the men came to the door to watch him it shifted and darkened in the dusk. No one followed him out. He walked with great care, holding his hand to his abdomen. The flood lights along the upper walls would come on at any moment. He walked very carefully. Blood sloshed in his boots. He looked at the knife in his hand and flung it away. The first horn would sound and the lights would come up along the walls. He felt lightheaded and curiously without pain. His hands were sticky with blood and blood was oozing through his fingers where he held himself. The lights would be coming on and the horn would be sounding.

He was halfway to the first steel ladder when a tall man overtook him and spoke to him. He turned, crouching. In the dying light perhaps they would not see he had no knife. Not see how he stood so bloodv in his clothes.

Ven conmigo, said the man. Está bien.

No me moleste.

The dark tiers of the prison walls ran forever down the deep cyanic sky. A dog had begun to bark.

El padrote quiere ayudarle.

Mande?

The man stood before him. Ven conmigo, he said.

It was Pérez's man. He held out his hand. John Grady stepped back. His boots left wet tracks of blood in the dry floor of the yard. The lights would come on. Horn would sound. He turned to go, his knees stammering under him. He fell and got up again. The mayordomo reached to help him and he twisted out of his grip and fell again. The world swam. Kneeling he pushed against the ground to rise. Blood dripped between his outstretched hands. The dark bank of the wall rode up. The deep cyanic sky. He was lying on his side. Pérez's man bent over him. He stooped and gathered him up in his arms and lifted him and carried him across the yard into Pérez's house and kicked the door shut behind him as the lights came on and the horn sounded.

HE WOKE in a stone room in total darkness and a smell of disinfectant. He put his hand out to see what it would touch and felt pain all over him like something that had been crouching there in the silence waiting for him to stir. He put his hand down. He turned his head. A thin rod lay luminescing in the blackness. He listened but there was no sound. Every breath he took was like a razor. After a while he put his hand out and touched the cold block wall.

Hola, he said. His voice was weak and reedy, his face stiff and twisted. He tried again. Hola. There was someone there. He could feel them.

Quién está? he said, but no one spoke back.

There was someone there and they had been there. There was no one there. There was someone there and they had been there and they had not left but there was no one there.

He looked at the floating rod of light. It was light from under a door. He listened. He held his breath and listened because the room was small it seemed to be small and if the room was small he could hear them breathing in the dark if they were breathing but he heard nothing. He half wondered if he were not dead and in his despair he felt well up in him a surge of sorrow like a child beginning to cry but it brought with it such pain that he stopped it cold and began at once his new life and the living of it breath to breath.

He knew he was going to get up and try the door and he took a long time getting ready. First he moved onto his stomach. He pushed himself over all at once to get it done with and he was just amazed at the pain. He lay breathing. He reached down to put his hand on the floor. It swung in empty space. He eased his leg over the edge and pushed himself up and his foot touched the floor and he lay resting on his elbows.

When he reached the door it was locked. He stood, the floor cool under his feet. He was trussed in some sort of wrapping and he'd begun to bleed again. He could feel it. He stood resting with his face against the cool of the metal door. He felt the bandage on his face against the door and he touched it and he was thirsty out of all reason and he rested for a long time before starting back across the floor.

When the door did open it was to blinding light and there stood in it no ministress in white but a demandadero in stained and wrinkled khakis bearing a metal messtray with a double spoonful of pozole spilled over it and a glass of orange soda-water. He was not much older than John Grady and he backed into the room with the tray and turned, his eyes looking everywhere but at the bed. Other than a steel bucket in the floor there was nothing in the room but the bed and nowhere to put the tray but on it.

He approached and stood. He looked at once uncomfortable and menacing. He gestured with the tray. John Grady eased himself onto his side and pushed himself up. Sweat stood on his forehead. He was wearing some sort of rough cotton gown and he'd bled through it and the blood had dried.

Dame el refresco, he said. Nada más.

Nada más?

No.

The demandadero handed him the glass of orangewater and he took it and sat holding it. He looked at the little stone block room. Overhead was a single lightbulb in a wire cage.

La luz, por favor, he said.

The demandadero nodded and went to the door and turned and pulled it shut after him. A click of the latch in the darkness. Then the light came on.

He listened to the steps down the corridor. Then the silence. He raised the glass and slowly drank the soda. It was tepid, only faintly effervescent, delicious.

He lay there three days. He slept and woke and slept again. Someone turned off the light and he woke in the dark. He called out but no one answered. He thought of his father in Goshee. He knew that terrible things had been done to him there and he had always believed that he did not want to know about it but he did want to know. He lay in the dark thinking of all the things he did not know about his father and he realized that the father he knew was all the father he would ever know. He would not think about Alejandra because he didnt know what was coming or how bad it would be and he thought she was something he'd better save. So he thought about horses and they were always the right thing to think about. Later someone turned the light back on again and it did not go off again after that. He slept and when he woke he'd dreamt of the dead standing about in their bones and the dark sockets of their eyes that were indeed without speculation bottomed in the void wherein lay a terrible intelligence common to all but of which none would speak. When he woke he knew that men had died in that room.

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