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In this final volume of The Border Trilogy, two men marked by the boyhood adventures of All the Pretty Horses and The Crossing now stand together, in the still point between their vivid pasts and uncertain futures, to confront a country changing or already changed beyond recognition. In the fall of 1952, John Grady Cole and Billy Parham—nine years apart in age, yet with a kinship greater than perhaps they know—are cowboys on a New Mexico ranch encroached upon from the north, at Alamogordo, by the military. To the south, always on the horizon are the mountains of Mexico, looming over El Paso, Ciudad Juárez and all the cities of the plain. Bound by nature to horses and cattle and range, these two discover that ranchlife domesticity is compromised, for them and the men they work with, by a geometry of loss afflicting old and young alike, those who have survived it and anyone about to try. And what draws one of them across the border again and again, what would bind "those disparate but fragile worlds," is a girl seized by ill fortune, and a love as dangerous as it is inevitable. This story of friendship and passion is enfolded in a narrative replete with character and place and event—a blind musician, a marauding pack of dogs, curio shops and ancient petroglyphs, a precocious shoe-shine boy, trail drives from the century before, midnight on the highway—and with landforms and wildlife and horses and men, most of all men and the women they love and mourn, men and their persistence and memories and dreams. With the terrible beauty of Cities of the Plain—with its magisterial prose, humor both wry and out-right, fierce conviction and unwavering humanity—Cormac McCarthy has completed a landmark of our literature and times, an epic that reaches from tales of the old west, the world past, into the new millennium, the world to come. Look for Cormac McCarthy's latest novels, The Passenger and Stella Maris.
In this final volume of The Border Trilogy, two men marked by the boyhood adventures of All the Pretty Horses and The Crossing now stand together, in the still point between their vivid pasts and uncertain futures, to confront a country changing or already changed beyond recognition. In the fall of 1952, John Grady Cole and Billy Parham—nine years apart in age, yet with a kinship greater than perhaps they know—are cowboys on a New Mexico ranch encroached upon from the north, at Alamogordo, by the military. To the south, always on the horizon are the mountains of Mexico, looming over El Paso, Ciudad Juárez and all the cities of the plain. Bound by nature to horses and cattle and range, these two discover that ranchlife domesticity is compromised, for them and the men they work with, by a geometry of loss afflicting old and young alike, those who have survived it and anyone about to try. And what draws one of them across the border again and again, what would bind "those disparate but fragile worlds," is a girl seized by ill fortune, and a love as dangerous as it is inevitable. This story of friendship and passion is enfolded in a narrative replete with character and place and event—a blind musician, a marauding pack of dogs, curio shops and ancient petroglyphs, a precocious shoe-shine boy, trail drives from the century before, midnight on the highway—and with landforms and wildlife and horses and men, most of all men and the women they love and mourn, men and their persistence and memories and dreams. With the terrible beauty of Cities of the Plain—with its magisterial prose, humor both wry and out-right, fierce conviction and unwavering humanity—Cormac McCarthy has completed a landmark of our literature and times, an epic that reaches from tales of the old west, the world past, into the new millennium, the world to come. Look for Cormac McCarthy's latest novels, The Passenger and Stella Maris.
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En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
Extraits-
From the book
Late that night lying in his bunk in the dark he heard the kitchen door close and heard the screendoor close after it. He lay there. Then he sat and swung his feet to the floor and got his boots and his jeans and pulled them on and put on his hat and walked out. The moon was almost full and it was cold and late and no smoke rose from the kitchen chimney. Mr Johnson was sitting on the back stoop in his duckingcoat smoking a cigarette. He looked up at John Grady and nodded. John Grady sat on the stoop beside him. What are you doin out here without your hat? he said.
I dont know.
You all right?
Yeah. I'm all right. Sometimes you miss bein outside at night. You want a cigarette?
No thanks.
Could you not sleep either?
No sir. I guess not.
How's them new horses?
I think he done all right.
Them was some boogerish colts I seen penned up in the corral.
I think he's goin to sell off some of them.
Horsetradin, the old man said. He shook his head. He smoked.
Did you used to break horses, Mr Johnson?
Some. Mostly just what was required. I was never a twister in any sense of the word. I got hurt once pretty bad. You can get spooked and not know it. Just little things. You dont hardly even know it.
But you like to ride.
I do. Margaret could outride me two to one though. As good a woman with a horse as I ever saw. Way bettern me. Hard thing for a man to admit but it's the truth.
You worked for the Matadors didnt you?
Yep. I did.
How was that?
Hard work. That's how it was.
I guess that aint changed.
Oh it probably has. Some. I was never in love with the cattle business. It's just the only one I ever knew.
He smoked.
Can I ask you somethin? said John Grady.
Ask it.
How old were you when you got married?
I was never married. Never found anybody that'd have me.
He looked at John Grady.
Margaret was my brother's girl. Him and his wife both was carried off in the influenza epidemic in nineteen and eighteen.
I didnt know that.
She never really knowed her parents. She was just a baby. Well, five. Where's your coat at?
I'm all right.
I was in Fort Collins Colorado at the time. They sent for me. I shipped my horses and come back on the train with em. Dont catch cold out here now.
No sir. I wont. I aint cold.
I had ever motivation in the world but I never could find one I thought would suit Margaret.
One what?
Wife. One wife. We finally just give it up. Probably a mistake. I dont know. Socorro pretty much raised her. She spoke better spanish than Socorro did. It's just awful hard. It liked to of killed Socorro. She still aint right. I dont expect she ever will be.
Yessir.
We tried ever way in the world to spoil her rotten but it didnt take. I dont know why she turned out the way she did. It's just a miracle I guess you could say. I dont take no credit for it, I'll tell you that.
Yessir.
Look yonder. The old man nodded toward the moon.
What?
You cant see em now. Wait a minute. No. They're gone.
What was it?
Birds flyin across the moon. Geese maybe. I dont know.
I didnt see em. Which way were they headed?
Upcountry. Probably headed for that marsh country on the river up around Belen.
Yessir.
I used to love to ride of a night.
I did too.
You'll see things on the desert at night that you cant understand. Your horse will see things. He'll see things that will spook him of course but then he'll see things that dont spook him but still you know he seen...
Au sujet de l’auteur-
The novels of the American writer, Cormac McCarthy, have received a number of literary awards, including the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award. His works adapted to film include All the Pretty Horses, The Road, and No Country for Old Men—the latter film receiving four Academy Awards, including the award for Best Picture. He died in 2023.
Critiques-
Starred review from May 11, 1998 This volume concludes McCarthy's Border Trilogy--the first two books being All the Pretty Horses, which won the National Book Award in 1992, and The Crossing, published to great acclaim in '94. Devoted McCarthy readers will know not to expect any neat or dramatic resolution in Cities of the Plain, for the author is more of a poet than a novelist, more interested in wedding language to experience in successive moments than in building and setting afloat some narrative ark. Cities, like the other books, takes place sometime shortly after WWII along the Texas-Mexico border. John Grady Cole, the young, horse-savvy wanderer from All the Pretty Horses, and Billy Parham, who traveled in search of stolen horses with his younger brother in The Crossing, are now cowhands working outside El Paso. John Grady falls in love with Magdalena, a teenage prostitute working in Juarez, Mexico; determined to marry her, he runs afoul of her pimp, Eduardo. That is basically the narrative. Along the way, McCarthy treats the reader to the most fabulous descriptions of sunrises, sunsets, the ways of horses and wild dogs, how to patch an inner tube. The cowboys engage in almost mythically worldly-wise, laconic dialogues that are models of concision and logic. Although there is less of it here than in the earlier books, McCarthy does include a few of his familiar seers, old men and blind men who speak in prophetic voices. Their words serve as earnest if cryptic instructions to the younger lads and seem to unburden the novelist of his vision of America and its love affair with free will. If a philosophy of life were to be extracted from these tales, it would seem to be that we are fated to be whatever we are, that what we think are choices are really not; that betrayals of the heart are always avenged; and that following one's heart is a guarantee of nothing. There is not much solace in McCarthy-land; there is only the triumph of prose, endlessly renewed, forever in search of a closure it will not find save in silence. 200,000 first printing; BOMC alternate; simultaneous audio, read by Brad Pitt.
San Francisco Chronicle
"An American classic to stand with the finest literary achievements of the century."
Washington Post Book World
"Grave and majestic.... McCarthy has created an imaginative oeuvre greater and deeper than any single book. Such writers wrestle with the gods themselves."
The New York Times
"Showcases Mr. McCarthy's gifts as an old-fashioned storyteller.... His most readable, emotionally engaging novel yet."
The Philadelphia Inquirer
"Soars as few novels have in recent years...a work of which any writer would be proud."
Chicago Tribune
"If you love classic narrative, quest stories, adventure stories of high order transformed by one of the lapidary masters of contemporary American fiction, now is your hour of triumph."
The Boston Globe
"Captures a way of life so unspoken and deep that most people never knew it existed--. [McCarthy] can go places in prose as remote as a mountain pass in a high wind."
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