The Evolving Project of Cormac McCarthy presents eleven essays of original scholarship that undertake a programmatic reassessment of McCarthy’s literary and philosophical worldview. Examining issues of race, morality, history, metaphysics, law, economics, and ecology in McCarthy’s writing reveals how these themes intersect in an overarching, positive gesture that characterizes his work. Taken together, the essays offer a more expansive understanding of McCarthy’s critique of contemporary society, while providing new clarity on his vision of alternate ways of living and community beyond their present life-denying manifestations.

The Evolving Project of Cormac McCarthy presents eleven essays of original scholarship that undertake a programmatic reassessment of McCarthy’s literary and philosophical worldview. Examining issues of race, morality, history, metaphysics, law, economics, and ecology in McCarthy’s writing reveals how these themes intersect in an overarching, positive gesture that characterizes his work. Taken together, the essays offer a more expansive understanding of McCarthy’s critique of contemporary society, while providing new clarity on his vision of alternate ways of living and community beyond their present life-denying manifestations.

Combining the fields of evolutionary economics and the humanities, this book examines McCarthy’s literary works as a significant case study demonstrating our need to recognise the interrelated complexities of economic policies, environmental crises, and how public policy and rhetoric shapes our value systems. In a world recovering from global economic crisis and poised on the brink of another, studying the methods by which literature interrogates narratives of inevitability around global economic inequality and eco-disaster is ever more relevant.

The works of Cormac McCarthy have been critically studied as literature of the South and of the Border Southwest. Largely ignored is the omnipresence and presentation of animals in McCarthy's works. Yet the abundant representations of animals depict a part of the ceaseless battle for survival that is inherent in many of his writings. McCarthy's animals exist within the framework of a fictional natural world driven by biological determinism: Wild animals prey upon feral and domestic animals, horses exist as warriors, and the hunt is a ballet between man and hunting hound. Proximity to humans results in mistreatment and death, while distance results in survival and fitness. McCarthy also utilizes animals as harbingers of specific events; for example, hogs are so frequently a precursor of human death that McCarthy's narrators and characters wonder whether hogs are joined to the devil for evil purposes. The first chapter here examines animal presentations in The Stonemason, The Gardener's Son and two short stories, "Bounty" and "The Dark Waters." The following nine chapters focus on one text, one type of animal--feline, swine, bovine, bird and bat, canine, equine, lupine, and hound--and one particular thesis. Each chapter also briefly examines the specific animal as it exists in other McCarthy works.

Bryan Giemza challenges the myth of the solitary genius, both in scientific and humanistic endeavors, and demonstrates how Cormac McCarthy is the exceptional figure whose work allows and encourages us to interrogate the marriage of the sciences and humanities. Drawing from previously unsurfaced archival connections as well as a range of primary sources and interview subjects, including those close to McCarthy, Giemza places McCarthy's work within contemporary scientific discourse and literary criticism. Timely and innovative in both content and structure, the volume includes a biographical examination of the writer's love of science and the path that led him to the Santa Fe Institute and offers a rare look behind its closed doors. The book probes the STEM subjects – with chapters focused on technology, engineering, and math – within and throughout McCarthy's fictional universe and biography. The final chapter explores McCarthy's friendship with Guy Davenport and their shared interest in creating a unified aesthetic theory alongside McCarthy's essays and most recent literary projects, The Passenger and Stella Maris. In arguing that science and art are connected by aesthetics, Giemza confirms the profound truth of McCarthy's unwavering belief that "There's a beauty to science" and a language of human understanding that transcends words.

Zombies, vampires and ghosts feature prominently in nearly all forms of entertainment in the 21st century, including popular fiction, film, comics, television and computer games. But these creatures have been vital to the entertainment industry since the best-seller books of a century and half ago. Monsters don't just invade popular culture, they help sell popular culture. This collection of new essays covers 150 years of enduringly popular Gothic monsters who have shocked and horrified audiences in literature, film and comics. The contributors unearth forgotten monsters and reconsider familiar ones, examining the audience taboos and fears they embody.

Georg Guillemin’s visionary approach to the work of Western novelist Cormac McCarthy combines an overall survey of McCarthy’s eight novels in print with a comprehensive analysis of the author’s evolving ecopastoralism. Using in-depth textual interpretations, Guillemin argues that even McCarthy’s early work is characterized less by traditional nostalgia for a lost pastoral order than by a radically egalitarian land ethic that prefigures today’s ecopastoral tendencies in Western American writing. The study shows that more than any of the other landscapes evoked by McCarthy, the Southwestern desert becomes the stage for his dramatizations of a wild sense of the pastoral. McCarthy’s fourth novel, Suttree, which is the only one set inside an urban environment, is used in the introductory chapter to discuss the relevant compositional aspects of his fiction and the methodology of the chapters to come. The main part of the study devotes chapters to McCarthy’s Southern novels, his keystone work Blood Meridian, and the Western novels known as the Border Trilogy. The concluding chapter discusses the broader context of American pastoralism and suggests that McCarthy’s ecopastoralism is animistic rather than environmentalist in character. Guillemin shows that the very popular Border Trilogy takes McCarthy’s ecopastoralism to its culmination, although this is often overlooked precisely because of the simplicity of the plots—picaresque quests. As the trilogy arranges its plots as a search for a life of pastoral harmony (All the Pretty Horses), envisions a nomadic version of pastoral (The Crossing), and experiences the foreclosure of the pastoral vision anywhere (Cities of the Plain), the trilogy as a whole tacitly acknowledges the obsolescence of utopian pastoralism. Increasingly, man ceases to be the dominant focus of narration, so that the shift from an egocentric to an ecocentric sense of self marks both the heroes and narrators of McCarthy’s novels.