Nay, Neigh

About a month ago, I finished Cormac McCarthy’s All the Pretty Horses. I’ve never seen the movie; the only McCarthy movie adaptation I’ve seen is No Country for Old Men, which I thought did a terrific job. I do know that Pretty Horses stars Matt Damon and Penelope Cruz, and I wonder if I could let myself believe that Damon’s character is 16/17 years old. I’d probably be okay with it, only because I adore Matt Damon. But I don’t know if I could accept Billy Bob Thornton making a movie from a Cormac McCarthy novel, only because I just don’t know about that guy. He creeps me out.

The movie also stars Henry Thomas, who takes me back to E.T. and especially Cloak & Dagger. I guess I can understand casting men in their late 20s (or so) in a movie meant to portray young men in their late teens aged and roughed up by the Wild West. But since I didn’t see All the Pretty Horses, instead of imagining Matt Damon and Henry Thomas, I actually used my imagination.

Of course, McCarthy’s language gets to me every single time. His integration of Spanish in this novel feels perfectly natural, and the lexicon referring to ranching in Mexico helped keep me engaged.  On my Kindle, I can put my finger on a word, and its definition pops up. That tool is pretty nifty. With some of the words in this novel, however, a few of them made it into the English dictionary, but most of them did not. I was okay with that.

One of my favorite excerpts:

The world’s pain and its beauty moved in a relationship of diverging equity and that in this headlong deficit the blood of multitudes might ultimately be exacted for the vision of a single flower.

Right? How about that contrast and almost palpable effect? Here’s another:

They stood and watched him pass and watched him vanish upon that landscape solely because he was passing. Solely because he would vanish.

For me, this captures the entire tone of the novel. Vanishing points provide lengthen a field, deepen perspective, and create a little pocket of time-space to help us grasp the present before it becomes the past.

And, finally:

Sweeter for the larceny of time and flesh, sweeter for the betrayal.

When I first came across this phrase (which comes earlier than the previous excerpts), I looked around on the train and wondered if any of the other passengers felt the sheer power of the combination of these words. Larceny of time! Larceny of flesh! Could a word be so perfect, just so utterly perfect?

What should I read next?

A little discussion.

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