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.

Presents a collection of critical essays about the works of Cormac McCarthy.

"Reconceives the moral significance of Cormac McCarthy's novels through a constructive engagement with postmodern theory and Christian theology"--

In Cormac McCarthy and the Writing of American Spaces Andrew Estes examines ideas about the land as they emerge in the later fiction of this important contemporary author. McCarthy's texts are shown to be part of larger narratives about American environments. Against the backdrop of the emerging discipline of environmental criticism, Estes investigates the way space has been constructed in U.S. American writing. Cormac McCarthy is found to be heir to diametrically opposed concepts of space: as something Americans embraced as either overwhelmingly positive and reinvigorating or as rather negative and threatening. McCarthy's texts both replicate this binary thinking about American environments and challenge readers to reconceive traditional ways of seeing space. Breaking new ground as to how literary landscapes and spaces are critically assessed this study seeks to examine the many detailed descriptions of the physical world in McCarthy on their own terms. Adding to so-called 'second wave' environmental criticism, it reaches beyond an earlier, limited understanding of the environment as 'nature' to consider both natural landscapes and built environments. Chapter one discusses the field of environmental criticism in reference to McCarthy while chapter two offers a brief narrative of conceptions of space in the U.S. Chapter three highlights trends in McCarthy criticism. Chapters four through eight provide close readings of McCarthy's later novels, from Blood Meridian to The Road.

The western American landscape has always had great significance in American thinking, requiring an unlikely union between frontier mythology and the reality of a fragile western environment. Additionally it has borne the burden of being a gendered space, seen by some as the traditional "virgin land" of the explorers and pioneers, subject to masculine desires, and by others as a masculine space in which the feminine is neither desired nor appreciated. Both Wallace Stegner and Cormac McCarthy focus on this landscape and environment; its spiritual, narrative, symbolic, imaginative, and ideological force is central to their work. In this study, McGilchrist shows how their various treatments of these issues relate to the social climates (pre- and post-Vietnam era) in which they were written, and how despite historical discontinuities, both Stegner and McCarthy reveal a similar unease about the effects of the myth of the frontier on American thought and life. The gendering of the landscape is revealed as indicative of the attempts to deny the failure of the myth, and to force the often numinous western landscape into parameters which will never contain it. Stegner's pre-Vietnam sensibility allows the natural world to emerge tentatively triumphant from the ruins of frontier mythology, whereas McCarthy's conclusions suggest a darker future for the West in particular and America in general. However, McGilchrist suggests that the conclusion of McCarthy's Border Trilogy, upon which her arguments regarding McCarthy are largely based, offers a gleam of hope in its final conclusion of acceptance of the feminine.

This book addresses the religious scope of Cormac McCarthy’s fiction, one of the most controversial issues in studies of his work. Current criticism is divided between those who find a theological dimension in his works, and those who reject such an approach on the grounds that the nihilist discourse characteristic of his narrative is incompatible with any religious message. McCarthy’s tendencies toward religious themes have become increasingly more acute, revealing that McCarthy has adopted the biblical language and rhetoric to compose an "apocryphal" narrative of the American Southwest while exploring the human innate tendency to evil in the line of Herman Melville and William Faulkner, both literary progenitors of the writer. Broncano argues that this apocryphal narrative is written against the background of the Bible, a peculiar Pentateuch in which Blood Meridian functions as the Book of Genesis, the Border Trilogy functions as the Gospels, and No Country for Old Men as the Book of Revelation, while The Road is the post-apocalyptic sequel. This book analyzes the novels included in what Broncano defines as the South-Western cycle (from Blood Meridian to The Road) in search of the religious foundations that support the narrative architecture of the texts.