On the inside front cover of a used copy of Cormac McCarthy’s 1992 novel All the Pretty Horses lies a note, presumably written by someone who had gifted the novel to someone else. The note reads: “In my opinion, the best Western from the best Western author. Great spiritual ruminations.” Upon reading the line ‘the best Western from the best Western author,’ images of gruff and mysterious cowboys catching bandits and riding off into the sunset immediately fills one's head. However, one will almost certainly be surprised to find that All the Pretty Horses contained very little of what most would assume makes a Western great. The protagonists, John Grady and Lacey Rawlins, are far from the larger-than-life cowboys of a spaghetti western; they …show more content…
All The Pretty Horses is not the ‘best Western’ because it provides what one would expect from a classic Western story, it is the best Western because it does the exact opposite: it provides the reader with the reality of being a young man in one of the least settled and most lawless areas of the world in the mid 19th century. Cormac McCarthy disagrees with the stereotype of the Romantic American West in All the Pretty Horses by alluding to popular Western fiction and by starkly juxtaposing the protagonist’s experiences with the themes of death and love with the stereotypical representation of those themes in popular Western culture. Interestingly, one of the most common ways McCarthy disagrees with the stereotypes of the Romantic American West is by having his characters allude to it. In All the Pretty Horses, John Grady and Lacey Rawlins run away from home in San Angelo, Texas when Grady finds out that his grandmother plans to sell the ranch of his deceased grandfather, rather than keeping it in the family and letting Grady take the …show more content…
Many Westerns, if they contain a female character at all, often place them in distress, tied to the railroad tracks or kidnapped by a ruthless bounty hunter. They are usually cast to the side, ignored until the final act when the heroic protagonist needs a love interest. All the Pretty Horses not only has its fair share of female characters, including Grady’s grandmother, the Duea Alfonsa, and of course Alejandra, but almost all of them could be described as Hawksian, reminiscent of the leading woman in films of the term’s namesake, Howard Hawks. The most prominent of these characters is Alejandra, daughter of the ranch owner and John Grady’s love interest. Despite being Grady’s opposite throughout most of the story, Alejandra is not a naive woman in need of constant help, she is a powerful woman aware of her status on the ranch and how to use it. She is not ashamed of her liking towards Grady, and when she is told that they cannot be seen together due to her status, she brushes the suggestion aside, insisting that she “will not be treated in such a manner” (McCarthy,
McCarthy’s plot is built around a teenage boy, John Grady, who has great passion for a cowboy life. At the age of seventeen he begins to depict himself as a unique individual who is ambitious to fulfill his dream life – the life of free will, under the sun and starlit nights. Unfortunately, his ambition is at odds with the societal etiquettes. He initiates his adventurous life in his homeland when he futilely endeavors to seize his grandfather’s legacy - the ranch. John Grady fails to appreciate a naked truth that, society plays a big role in his life than he could have possibly imagined. His own mother is the first one to strive to dictate his life. “Anyway you’re sixteen years old, you can’t run the ranch…you are being ridiculers. You have to go to school” she said, wiping out any hopes of him owning the ranch (p.15). Undoubtedly Grady is being restrained to explore his dreams, as the world around him intuitively assumes that he ought to tag along the c...
"Relocating the Cowboy: American Privilege in "All the Pretty Horses"" Pepperdine University: Global Tides Seaver Journal of Arts and Sciences. Maia Y. Rodriguez, 2014. Web. 2 May 2016. . The Western typically illustrates the journey of a man, usually a horse riding cowboy, into the Western frontier where he must conquer nature "in the name of civilization or [confiscate] the territorial rights of the original inhabitants... Native Americans" (Newman 150). What this brand of mythology promotes is precisely the values of American culture: rugged individualism, achievement and success, activtity and work, democracy and enterprise, and--most importantly--
In the novel All the Pretty Horses by Cormac McCarthy, the author shows how important the roles of the horses are in the story and how they relate to John Grady, the protagonist of the novel. The horse has played an important role in the development of America. It has been a form of transportation, easy muscle, and companionship. In the Wild West, it was an essential resource for a cowboy to do his daily chores. McCarthy describes horses as spiritual and as resembling the human soul; meaning that horses came in many different forms. Horses are pretty, ugly, wild, tame, etc. in the story, they have so many different descriptions and different types of personality that they appear to resemble humans. In the story, John Grady is able to communicate with horses beyond a level normal people could. He could look into a horse's eyes and be able to see into its heart; because of this distinct relationship Grady is able to compare the world of horses to the world of humans. Throughout the novel, he learns that what he thinks of men and about his romantic idea of living in the world is completely false and wrong. Therefore, McCarthy's title shows that life can be full of change; and, at times, it can be cruel and ironic. Because of this, McCarthy's title shows how much a perspective can change when a man goes on an adventure and experiences things he did not experience before. Meaning that, McCarthy wanted readers to think before they read the book that life is pretty and easy, but after they read the book he wants the readers to know that life is not always how it seems.
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
Cormac McCarthy's All the Pretty Horses. In All the Pretty Horses, Cormac McCarthy reveals the limitations of a romantic ideology in the real world. Through his protagonist, John Grady Cole, the author offers three main examples of a man’s attempt to live a romantic life in the face of hostile reality: a failed relationship with an unattainable woman; a romantic and outdated relationship with nature; and an idealistic decision to live as an old-fashioned cowboy in an increasingly modern world. In his compassionate description of John Grady, McCarthy seems to endorse these romantic ideals.
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.
Cormac McCarthy was wise in choosing the Southwest as the setting for a novel of unprecedented bloodshed. No other land would have done McCarthy’s ideas justice, given that only the Southwest harbored such wanton violence. A ...
In literary works, motifs help to convey symbolic significance in order to develop themes and the central message the author is attempting to portray. In All The Pretty Horses, McCarthy focuses specifically on horses and blood in relation to the main character’s overall development. Though John’s love for his horses never falters throughout his many trials, John’s transformation from a young boy to a mature adult is demonstrated by the expansion of that love and the dynamic motif of blood.
In the book All the Pretty Horses by Cormac McCarthy, symbolism is shown in multiple different ways. Symbolism is the usage of symbols to represent ideas and qualities. When reading the book, in the beginning these symbols do not tend to stand out, but as the plot continues symbols are found everywhere. Multiple symbols are used throughout the story like horses, blood and water. Some more less-noticeable symbols are dust, religion, and sunsets.
“Growing up” is a very broad term that is used without a true, consistent definition. In essence, it describes and encompasses themes of coming of age and the loss of innocence as a person moves from child to adult. In many respects, people view this change as a specific, pivotal moment in a person’s life, such as an eighteenth birthday, or the day a person leaves their parents’ house. This idea of having a crucial moment in life, which provides the open door into adulthood, is portrayed in many novels. It is easy to find a death that occurs, or a specific event that causes a character to “grow up” prematurely, but many times, contrary to most beliefs, that exact event is not the turn of the key leading through the doors to maturity. It is rather just a small push which starts a domino effect. This is the same scenario in the novel All the Pretty Horses by Cormac McCarthy. This novel proves that loss of innocence is a learning process rather than the result of a
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.
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.
The image of the cowboy as Jennifer Moskowitz notes in her article “The Cultural Myth of the Cowboy, or, How the West was Won” is “uniquely
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.
“All the Pretty Horses”, a novel written by Cormac McCarthy tells the tale about a man and his friend travelling the plains of Mexico after leaving their homes in Texas. As the novel’s name alludes to, horses are a central theme in the story as they represent manhood and freedom when John Grady, the protagonist, and his friend Rawlins get thrown in jail. McCarthy’s novel became critically-acclaimed which gained him more recognition, as well as a movie adaptation directed by Billy Bob Thornton. Even though Thornton’s adaption has the basics of the novel’s story it does not appropriately grasps its depth. While Thornton’s version stays faithful to the dialogue from the book’s included scenes it does fall short by having an erratic pace, having