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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As he rode down through the parkland in the evening the cattle kept moving out of the trees before him where they'd gone to shade up in the day. He rode through a grove of apple trees gone wild and brambly- and he picked an apple as he rode and bit into it and it was hard and green and bitter. He walked the horse through the grass looking for apples on the ground but the cattle had eaten them all. He rode past the ruins of an old cabin. The lintel was gone from the door and he walked the horse inside. The vigas were partly down and hunters or herdsmen had built fires in the floor. An old calfhide was nailed to one wall and there was no glass to the windows for the frames and sash were long since burned for firewood. There was a strange air to the place. As of some site where life had not succeeded. The horse liked nothing about it and he dabbed the reins against its neck and touched it with the heel of his boot and they turned carefully in the room and went out and rode down through the orchard and out past the marshlands toward the road. Doves called in the winey light. He tacked and quartered the horse to keep it from treading constantly in its own shadow for it seemed uneasy doing so.

He washed at the spigot in the corral and put on his other shirt and wiped the dust from his boots and walked up to the bunkhouse. It was already dark. The vaqueros had finished their meal and were sitting out under the ramada smoking.

Buenas noches, he said.

Eres tú, Juan?

Claro.

There was a moment of silence. Then someone said: Estás bienvenido aquí.

Gracias, he said.

He sat and smoked with them and told them all that had happened. They were concerned about Rawlins, more a friend to them than he. They were saddened that he was not coming back but they said that a man leaves much when he leaves his own country. They said that it was no accident of circumstance that a man be born in a certain country and not some other and they said that the weathers and seasons that form a land form also the inner fortunes of men in their generations and are passed on to their children and are not so easily come by otherwise. They spoke of the cattle and the horses and the young wild mares in their season and of a wedding in La Vega and a death at Víbora. No one spoke of the patrón or of the dueña. No one spoke of the girl. In the end he wished them a good night and walked back down to the barn and lay on the cot but he had no way to tell the time and he rose and walked up to the house and knocked at the kitchen door.

He waited and knocked again. When María opened the door to let him in he knew that Carlos had just left the room. She looked at the clock on the wall over the sink.

Ya comiste? she said.

No.

Siéntate. Hay tiempo.

He sat at the table and she made a plate for him of roast mutton with adobada sauce and put it to warm in the oven and in a few minutes brought it to him with a cup of coffee. She finished washing the dishes at the sink and a little before ten she dried her hands on her apron and went out. When she came back she stood in the door. He rose.

Está en la sala, she said.

Gracias.

He went out down the hall to the parlor. She was standing almost formally and she was dressed with an elegance chilling to him. She came across the room and sat and nodded at the chair opposite.

Sit down please.

He walked slowly across the patterned carpet and sat. Behind her on the wall hung a large tapestry that portrayed a meeting in some vanished landscape between two horsemen on a road. Above the double doors leading into the library the mounted head of a fighting bull with one ear missing.

Héctor said that you would not come here. I assured him he was wrong.

When is he coming back?

He will not be back for some time. In any event he will not see you.

I think I'm owed an explanation.

I think the accounts have been settled quite in your favor. You have been a great disappointment to my nephew and a considerable expense to me.

No offense, mam, but I've been some inconvenienced myself.

The officers were here once before, you know. My nephew sent them away until he was able to have an investigation performed. He was quite confident that the facts were otherwise. Quite confident.

Why didnt he say something to me.

He'd given his word to the commandante. Otherwise you would have been taken away at once. He wished to have his own investigation performed. I think you can understand that the commandante would be reluctant to notify people prior to arresting them.

I should of been let to tell my side of it.

You had already lied to him twice. Why should he not assume you would do so a third time?

I never lied to him.

The affair of the stolen horse was known here even before you arrived. The thieves were known to be Americans. When he questioned you about this you denied everything. Some months later your friend returned to the town of Encantada and committed murder. The victim an officer of the state. No one can dispute these facts.

When is he comin back?

He wont see you.

You think I'm a criminal.

I'm prepared to believe that certain circumstances must have conspired against you. But what is done cannot be undone.

Why did you buy me out of prison?

I think you know why.

Because of Alejandra.

Yes.

And what did she have to give in return?

I think you know that also.

That she wont see me again.

Yes.

He leaned back in the chair and stared past her at the wall. At the tapestry. At a blue ornamental vase on a sideboard of figured walnut.

I can scarcely count on my two hands the number of women in this familv who have suffered disastrous love affairs with men of disreputable character. Of course the times enabled some of these men to style themselves revolutionaries. My sister Matilde was widowed twice by the age of twenty-one, both husbands shot. That sort of thing. Bigamists. One does not like to entertain the notion of tainted blood. A family curse. But no, she will not see you.

You took advantage of her.

I was pleased to be in a bargaining position at all.

Dont ask me to thank you.

I shant.

You didnt have the right. You should of left me there.

You would have died.

Then I'd of died.

They sat in silence. The hall clock ticked.

We're willing that you should have a horse. I'll trust Antonio to supervise the selection. Have you any money?

He looked at her. I'd of thought maybe the disappointments in your own life might of made you more sympathetic to other people.

You would have thought wrongly.

I guess so.

It is not my experience that life's difficulties make people more charitable.

I guess it depends on the people.

You think you know something of my life. An old woman whose past perhaps has left her bitter. Jealous of the happiness of others. It is an ordinary story. But it is not mine. I put forward your cause even in the teeth of the most outrageous tantrums on the part of Alejandra's mother-whom mercifully you have never met. Does that surprise you?

Yes.

Yes. Were she a more civil person perhaps I'd have been less of an advocate. I am not a society person. The societies to which I have been exposed seemed to me largely machines for the suppression of women. Society is very important in Mexico. Where women do not even have the vote. In Mexico they are mad for society and for politics and very bad at both. My family are considered gachupines here, but the madness of the Spaniard is not so different from the madness of the creole. The political tragedy in Spain was rehearsed in full dress twenty years earlier on Mexican soil. For those with eyes to see. Nothing was the same and yet everything. In the Spaniard's heart is a great yearning for freedom, but only his own. A great love of truth and honor in all its forms, but not in its substance. And a deep conviction that nothing can be proven except that it be made to bleed. Virgins, bulls, men. Ultimately God himself. When I look at my grandniece I see a child. And yet I know very well who and what I was at her age. In a different life I could have been a soldadera. Perhaps she too. And I will never know what her life is. If there is a pattern there it will not shape itself to anything these eyes can recognize. Because the question for me was always whether that shape we see in our lives was there from the beginning or whether these random events are only called a pattern after the fact. Because otherwise we are nothing. Do you believe in fate?

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