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American literature and society
American literature and society
American literature and society
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Romanticism in All the Pretty Horses To romanticize something is to make it seem better than it actually is and that is exactly what our protagonist John Grady Cole does through out the majority of the story, he romanticizes the cowboy way of life. As a result of this, he starts to see the cowboy life as a perfect means of escape from a his mundane life. John Grady is not the only person to have romantic views of the west. Many before him and after have added on to the cowboy mystique and allure. Even though John Grady tries to stay optimistic about life and hopeful that things will turn out better in the long run. He soon begins to realize that his view on the world has no real function in the real world. John Grady not only romanticizes …show more content…
Although cowboys played a large role in the western United States most of the stories surrounding them are heavily steeped in myth and lure which only added to the overall grandeur of their image. This and the code that John Grady tries to live by seems to indicate that John Grady was idolizing a single cowboy or a particular cowboy but the idea of a cowboy, “The cowboy in various guises is popularly accepted by Americans as a symbol, indicative of this stature as myth” (Savage 3). All of this together may have contributed to John Grady's decision so pursue a cowboy …show more content…
At this period in time Mexican society and law were still trying to find its foothold in the aftermath of the Mexican revolution that had ended only a few years earlier and though the country now had a new president in office the country was still in a state of political unrest. Alfonsa who actually has gone through almost the exact same situation that John Grady and Alejandra are going through has no sympathy for John Grady and only cares about Alejandra's well being and that includes making sure that she (Alejandra) has a suitable husband. Alfonsa does not think John Grady is good enough for her niece , partly because of his both lack of social status and lack of means to support Alejandra, and because of the Aunt's own personal experience with her past
The times are changing and he's unwilling to give up the past. The world is becoming modernized and people like him, cowboys and ranchers, are slowly disappearing. He runs away from home because he desires to find peace within himself as well as a place where he can feel he belongs. Here begins the adventure of John Grady and his best friend Lacey Rawlins. It is important to note here the means of travel. The story is taking place after World War II, a time when cars are fairly common, yet these boys decide to go on horseback, like in the fading old days. This is just another concept of how they are unwilling to give up a fading past. When they first begin their journey, the boys are having a good time. In a sense they?re two buddies on a road trip with no real motive. Rawlins even mentions, ?You know what?I could get used to this life.? Then they meet Blevins, the foil in the plot that veers the two boys of their course and also has plays a role in the lasting change of their personality. Their meeting with him gives an insight into Grady?s character. Rawlins is against letting Blevins come along with them, but because of John?s kind nature he ends up allowing Blevins to come. It?s because of this kindness and sense of morality, he gets into trouble later on.
"Terrain as Narrative Lens in All the Pretty Horses." 2012 Brennan Prize Winning Essay // // University of Notre Dame. University of Notre Dame, 2012. Web. 02 May 2016. . Mexican wilderness comes to reflect John Grady Cole’s internal processes in its role as a vast tract of fenceless space, a canvas upon which McCarthy renders his main character’s experiences as they shape his identity. Meanwhile, the tightness of a Texan terrain scarred and lotted by barbed wire boundaries recognizes the restlessness that drives John Grady’s transience. The effect is a realization of the rapport between
Cormac McCarthy, All the Pretty Horses, is an incredulous story with no happy ending, where no one attains what they were attempting to achieve in the end. The story begins with a flat tone, but eventually grows to be suspenseful .[It] is set in a world of comparative [regularity], which is not to say it is any less dominated by evil ,any more controlled by rationality , logic or a divine purpose, than that of its predecessors.”(McCarthy) John and Rawlins are seventeen year olds, who have left their hometown to seek a better life,but what John doesn't know is that things will only turn for the worse. Both individuals come across a boy named Blevins ,who will be a very important character throughout the novel. As the story progresses, John will be faced with many poisonous encounters . John will face evil and evil will face him in the wake of the resurfacing of the heinous crimes that Blevins has committed, which leads them to being arrested and tortured atrociously. From having everything he will go to having nothing. Nothing.. This was
When John Grady meets Alejandra, he sets himself up for a situation that provokes conflict. This doesn’t seem to bother him, since John Grady is not content to live a life without risk. If anything, it may be that John Grady falls in love with Alejandra because of the potential conflict with her father, the powerful Don Hector. He finds conflict more appealing than harmony because it conforms to his ideal of the dangerous West. When John Grady tells his friend, Rawlins, about his first meeting with Alejandra, the author use...
John Grady’s transformation from a broken family as well as abandoned by his father was unexpected. Growing up around friends who were also abandoned and no mentor or role model made his transition difficult. His love and passion for horses is strong as it was one of the few family traditions he held onto his entire life. His views on emotions and depth of relationships changed once he met Alejandra. In addition, his view on blood as a metaphorical description, to the true life force of all beings is another lesson he learned during his transformation into a young adult. In All The Pretty Horses, McCarthy uses both motifs to spread his theme throughout the novel and portray John Grady’s metamorphosis dramatically from the beginning to the end.
As history cascades through an hourglass, the changing, developmental hands of time are shrouded throughout American history. This ever-changing hourglass of time is reflected in the process of maturation undertaken by western America in the late nineteenth century. Change, as defined by Oxford’s Dictionary, is “To make or become different through alteration or modification.” The notion of change is essential when attempting to unwind the economic make-up of Kansas in the 1880’s and 1890’s. Popular culture often reveres the American cowboy, which has led him to become the predominate figure in America’s “westering” experience (Savage, p3). However, by 1880 the cowboy had become a mythical figure rather than a presence in western life. The era of the cowboy roaming the Great Plains had past and farmers now sought to become the culturally dominant figure and force in the American West. Unlike the cowboys, farmers were able to evolved, organizing and establishing the Populist Party. The farmers’ newly formed political organization provided them with a voice, which mandated western reform. Furthermore, the populist ideas spread quickly and dominated western thought in the 1880’s and 1890’s. The period of the 1880’s and 1890’s marked the end of the American cowboy and gave farmers a political stronghold that would forever impact the modernization of the West.
When looking at the vast lands of Texas after the Civil War, many different people came to the lands in search for new opportunities and new wealth. Many were lured by the large area that Texas occupied for they wanted to become ranchers and cattle herders, of which there was great need for due to the large population of cows and horses. In this essay there are three different people with three different goals in the adventures on the frontier lands of Texas in its earliest days. Here we have a woman's story as she travels from Austin to Fort Davis as we see the first impressions of West Texas. Secondly, there is a very young African American who is trying his hand at being a horse rancher, which he learned from his father. Lastly we have a Mexican cowboy who tries to fight his way at being a ranch hand of a large ranching outfit.
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
For many Americans, the image of the cowboy evokes pleasant nostalgia of a time gone by, when cowboys roamed free. The Cowboy is, to many Americans, the ideal American, who was quick to the draw, well skilled in his profession, and yet minded his own business. Regardless of whether the mental picture that the word cowboy evokes is a correct or incorrect view of the vocation, one seldom views cowboys as being black. The first cowboy I met was from Texas and was black. After he told me that he was a cowboy, I told him that he had to be kidding. Unfortunately, I was not totally to blame for my inability to recognize that color has nothing to do with the cowboy profession; most if not all popular famous images of cowboys are white. In general, even today, blacks are excluded from the popular depiction of famous Westerners. Black cowboys were unheard of for almost a century after they made their mark on the cattle herding trade, not because they were insignificant, but because history fell victim to prejudice, and forgot peoples of color in popular depictions of the West and Western history.
The West has always held the promise of opportunity for countless Americans. While many African Americans struggled to find the equality promised to them after the Civil War, in the West black cowboys appeared to have created some small measure of it on the range. Despite this, their absence from early historical volumes has shown that tolerance on the range did not translate into just treatment in society for them or their families.
So finally he is back from where he started – the life influenced by those around him. Soon he found himself playing the ball accordingly. He recognizes that in contrast to his idea of seeing himself as an independent and unique identity is a myth in the real world. Nevertheless, in the end John Grady is still headed west (p.302), just as he does at the beginning (p.5). Does he still hope for better pastures further west of Mexico?
The cowboys of the frontier have long captured the imagination of the American public. Americans, faced with the reality of an increasingly industrialized society, love the image of a man living out in the wilderness fending for himself against the dangers of the unknown. By the end of the 19th century there were few renegade Indians left in the country and the vast expanse of open land to the west of the Mississippi was rapidly filling with settlers.
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.
Because of the outlaw hero’s definitive elements, society more so identifies with this myth. Ray said, “…the scarcity of mature heroes in American...
The cowboy hero, The Virginian, as portrayed in Owen Wister’s novel was the first of his kind and today is known as the stereotypical mythic cowboy figure which our view of the western frontier are based from. The Virginian was the first full length western novel apart from the short dime novels which marked the final stage in the evolution of the cowboy hero to a national icon. The Virginian was published in 1902 and at that time was wildly popular because of the settlement of the west. The story of the cowboy who had the skill and courage to take control of the untamed frontier enthralled people. The cowboy hero had a few distinguished qualities, he was a self-appointed vigilante, he had a very strict moral code, he had exceptional perception skills and he had the ability to adapt. Owen Wister’s The Virginian was the first to portray these qualities and really created a deeper cowboy character.