Cities of the Plain -- A Review

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   Cormac McCarthy writes like I would like to write. Spare and strong. And this from the person who always says she doesn’t like Hemingway. By-the-bye, I do like Hemingway’s short fiction. And I can’t read McCarthy one after the other without the respite of other books. Even if you know nothing about the books before you start them, you soon get a sense of the despair and desolation that reviewers talk about. The sense that these people and their way of life are passing away.

   The first book of McCarthy’s Border Trilogy is All the Pretty Horses which introduces us to 16-year-old John Grady Cole who’s lost his grandfather and the ranch home he’s grown up on. It begins in 1949. Rather than move into town he crosses the border into Mexico and comes of age.

   In The Crossing we meet Billy Parham, the son of a rancher, at the beginning of and during World War II. Again we have a young man losing his family and his way of life. He can’t even get into the military and go off to war, the standard border between the way life was and the way it will be for most Americans during that time.

   In Cities of the Plain we’ve come to the last of the three books. Here John Grady and Billy are working on Mac McGovern’s ranch in the early 1950’s. A ranch destined to be bought by the government.

   McCarthy’s Border Trilogy is magnificent just as is the country where it takes place. Great distances filled with sky and earth, hot or cold sunshine and vast night. There aren’t that many people and the people who are there are as spare and hard as the country, as are their language and their relationships.

   This is a conversation between John Grady and Mac McGovern, the rancher he works for.

   John Grady listened to him going down the hall to his room. When he came back he sat down and placed a gold ring on the table.

   That’s been in my dresser drawer for three years. It aint doin nobody any good there and it never will. We talked about everthing and we talked about that ring. She didnt want it put in the ground. I want you to take it.

   Sir I dont think I can do that.

   Yes you can. I’ve already thought of everthing you could possibly say on the subject so rather than go over it item by item let’s just save the aggravation and you put it in your pocket and come Tuesday you put it on that girl’s finger.

   McCarthy is a poet when he describes this country.

The stars in flood above her. The lower edges of the firmament sawed out into the black shapes of the mountains and the lights of the cities burning on the plain like stars pooled in a lake. She sang to herself softly as she went a song from long ago. The dawn was two hours away. The town one.

   McCarthy knows his people and he loves them. He recognizes the philosophers among the poor and resilient. John Grady comes to a blind musician to ask him to act as godfather for the woman he wants to wed. The old man tells him a story explaining why a dying man in great wisdom, chose his most hated enemy to be his son’s godfather. The story begins this way.

He knew that our enemies by contrast seem always with us. The greater our hatred the more persistent the memory of them so that a truly terrible enemy becomes deathless. So that a man who has done you great injury or injustice makes himself a guest in your house forever. Perhaps only forgiveness can dislodge him.

   The enemy who became godfather to the man’s son found that he must dedicate his entire life to the son. Because there could never be forgiveness, the enemy could not ‘dislodge’ the man. A friend who had loved him could more easily have thought of his dead friend in comfort and sadness and eased himself under the burden of such a responsibility.

   The Border Trilogy are not comfortable books to read. Like the country, they are beautiful and threaten death. The people who inhabit these books are tough. Their lives are broken and battered by sudden and unforgiving violence. They do not so much survive as endure.

   Do not let your obs-comp grammar ways get between you and these books. There are still people like these – unassuming but not subservient, under-educated but not unknowing, not especially civilized but enlightened. And some are still cowboys.

Three Writing Styles

STYLES of Writing SOUNDS & Silence

I have always read a wide variety of material, generally with little discrimination. I was as happy with David McCullough’s histories as with Colleen McCullough’s historical fiction. I eagerly read Charles Dickens and J. K. Rowling. Margaret Atwood and John Lescroart both kept me on tenterhooks.

Now that I, too, write, I am no more choosy about my reading, but I am more analytical. This summer I went from Patrick O’Brian’s Master and Commander, a naval novel set in the early 1800’s. To a repeat reading of Robert Jordan’s The Eye of the World, Volume One of his epic fantasy The Wheel of Time. To Cormack McCarthy’s All the Pretty Horses, the first in his Borderland Trilogy. Three very different ways to present sound and silence.

From O’Brian this excerpt:

‘Why does he not fire?’ thought Jack. The Desaix’s bow-chasers had been silent these twenty minutes. Indeed, by now she was in musket-shot, and the people in her bows could easily be told from one another: seamen, marines, officers—one man had a wooden leg. ‘By God, he’s going to riddle us with grape.’
…the Desaix began to yaw. She answered her helm as quickly as a cutter, and in three heartbeats there were her thirty-seven guns coming round to bear. The broadside’s roar and the fall of the Sophie’s main top gallant mast and fore topsail yard came almost together—in the thunder a hail of blocks, odd lengths of rope, splinters, the tremendous clang of a grape-shot striking the Sophie’s bell; and then a silence.

And from Jordan:

The back door creaked as someone outside, or something, tried to push it open. His mouth went dry. A crash shook the door in its frame and lent him speed; he slipped through the window like a hare going to ground, and cowered against the side of the house. Inside the room, wood splintered like thunder.

At first when the trees surrounded him, he took comfort from them. They helped hide him from Whatever the creatures were that had attacked the farm. As he crept through the woods, though, moon shadows shifted, and it began to seem as if the darkness of the forest changed and moved, too. Trees loomed malevolently; branches writhed toward him. He could almost hear the growling chuckles stifled in their throats while they waited for him. The howls of Tam’s pursuers no longer filled the night, but in the silence that replaced them he flinched every time the wind scraped one limb against another. He  hardly dared to breathe for fear he might be heard.

Then I read McCarthy’s All the Pretty Horses.

Rawlins stood in the door of the kitchen and studied him.
You look like you been rode hard and put up wet, he said.
They sat at the table and ate. Rawlins leaned back and fished his tobacco out of his shirtpocket.

I keep waitin for you to unload your wagon, he said. I got to go to work here in a few minutes.

I just come up to see you.

What about.

It don’t have to be about something does it?

No. Dont have to. He popped a match on the underside of the table and lit his cigarette and shook out the match and put it in his plate.

I hope you know what you’re doin, he said.

John Grady drained the last of his coffee and put the cup on his plate along with the silver. He got his hat from the bench beside him and put it on and stood up to take his dishes to the sink.

Rawlins watched him go to the sink and watched him go to the door. He thought he might turn and say something else but he didn’t.

It was not the absence of an apostrophe here and there that most affected me about McCarthy’s work. Having just read O’Brian’s decorous and abundant language describing sea battles in the Napoleonic Wars with their hundreds of men crowded on ships amid smoke and thunderous cannon fire, I then read Jordan’s graphic descriptions of combat with fantastical, ravening creatures in a world where silence and darkness battered me as harshly as the sounds of raging battles.

And finally I read McCarthy, with whom I was unfamiliar. My reaction to the change in styles was sensory. I felt as if I had been struck partially deaf. He wrote a world where sounds and people are as spare and sparse as the nearly barren dry lands of the West Texas-Mexico borderlands. McCarthy led me through hot, open country, with few people and them slow to speak their few words. A country of far distances and vast silences.

Three very different writers using words printed on paper to build worlds of sounds and silences in my head.