Analysis Of Mccarthy 's Cellar Scene

McCarthy writes, “I want to be with you. You cant. Please. You cant. You have to carry the fire. I dont know how to. Yes you do. Is it real? The fire? Yes it is. Where is it? I dont know where it is. Yes you do. It’s inside you. It was always there. I can see it” (pg. 278-279). Here, the lack of punctuation marks are prominent features of McCarthy’s writing style. One can infer that by doing this, he emphasizes the struggle and hardship of the current world, and how the civilities of the preapocalyptic world are no longer deemed significant in the present society. The dialogue between the man and the boy comprise of no quotation marks, which make it difficult for the reader to understand who is speaking which words. On the other hand, McCarthy structures the interactions between the man and the boy in a manner that it is almost poetic-like. Furthermore, the simplistic nature of the dialogue allows for interpretation of the raw emotion that is present in the text. Fear, lack of confidence, love, and fatigue are common emotions that the man and the boy inflect through their nightmarish journey on the road. “Carrying the fire” is a phrase that is used frequently in the novel. One can assume that the phrase is referring to having optimism in the goodness of humanity. Unfortunately, many of the inhabitants of this gruesome practice repulsive lifestyles including, but not limited to, cannibalism, rape, unprovoked battery, murder, and theft.

McCarthy’s The Road exemplifies the struggle to survive throughout the entire novel. In the most trying times, during the longest stretches without food, the father’s persistence and confidence

Using vivid imagery with sentences like “With the knife to the boys throat” and using visual and kinesthetic diction such as “bubbling” demonstrating how brief and briskly a life can be taken in the deadly post apocalyptic world including, suggesting a scary mortiferous mood to the reader. And repeatedly mentioning “pistol” in the passage expressed Papa’s weapon and exactly what kind of gun was being used in the scene. In the dialogue right before the passage you see McCarthy's unique style with dialgos of not using quotation marks implying possibly that in that life one’s mind and what he speaks has not much difference also making the author have his own unique syntax. Furthermore, he also uses the simile the literary device where the boy is “mute as a stone.” signifying his silent horror of the event where a life was sacrificed/murdered for his

​These two worlds Collins and McCarthy created where killing is a form of entertainment and/or necessity for one’s survival, one may assume that expressing any form of humanity is a sign of weakness. Moreover, because the main characters of both novels

In “A Good Man is Hard to Find”, Flannery O’Connor uses grotesque and flawed characters to reflect her own faith on the Roman Catholic Church. Set in the rural South during the 1950s, O’Connor takes readers on a journey from a satiric family comedy to a brutal cold blooded murder. An analysis of O’Connor’s use of religious symbolism and foreshadowing through characters and setting will be conducted in order to better understand her views and faith of the Catholic Church. This paper will also argue the belief that religious wisdom is the key for moral guidance.

In the passage from Cormac McCarthy’s novel, The Crossing, the narrator describes the main character’s burial of a wolf that was recently killed. It us unclear if he had killed the wolf or had found her dead, but the experience has a profound effect on the character either way. McCarthy uses several literary techniques to accurately convey the impact on the protagonist, including detailed diction that creates powerful visuals in the mind of the reader. Along with this usage of imagery, the author includes religious and spiritual references to emphasize the deep sadness and wonder felt by the main character during this passage.

In each novel of his personal literary journey, Cormac McCarthy examines death and God in different ways. Edwin T. Arnold, who wrote his essay “Blood and Grace: The Fiction of Cormac McCarthy” before The Road, examines how “McCarthy’s protagonists are most often those who, in their travels, are bereft of the voice of God and yet yearn to hear him speak” (14). In Cormac McCarthy’s The Road, the father explicitly describes his son as god; however, by juxtaposing the father and the son and examining their divine resemblances, it is not the boy but the man who embodies God, supporting Ely’s claim that this post-apocalyptic world is too harsh for God to exist.

From the beginning, McCarthy establishes a stage for his readers with a beautifully worded yet painstakingly morose description of the wasteland in which his characters occupy: “Nights dark beyond darkness and the days more gray each one than what had gone

A man and a child, father and son, are alone against an inclement nature while pushing a cart filled with tools, blankets, and things that they have found along the way to the south. About ten years before the world had been reduced to ashes by an apocalyptic disaster, which it is not known whether it was caused by a natural event or the foolishness of human beings. The world is reduced to a single color, gray, that of the ashes covering all that is left, that of hearts and minds, clouded by the pain of the loss and the terror of solitude. All that is left of the humankind is a few tenacious survivors struggling unceasingly against hunger and cold, and those who have lost any trace of humanity giving free vent to the lowest instincts of oppression and violence. But in the novel “The Road,” Cormac McCarthy paints a vivid and dramatic picture of the catastrophic consequences of a cataclysm that are nothing more than an excuse to minimize the outer contingencies with the sole purpose to bring up what is really dear to his heart, the relationship between a father and a son. They have been deliberately left unnamed for the whole story to epitomize the archetypes of the man and the child, a hymn to paternity, and to unconditional love. In a world reduced to the essentials, McCarthy aims not merely to explore the complexities of the relationship between the two, which in fact remains

On page 279, the man says, “It’s inside you. It was always there. I can see it.” (McCarthy 279). What he sees is the fire inside of his son. He often tells the boy that they’re the “good guys” who “carry the fire”. It’s crucial that the boy continues to carry it, since it represents goodness and humanity. If he lets the fire die, then all hope for the world is gone. Besides, what they went through in order to survive would mean nothing if he decided to quit. The boy carries “the fire” by showing compassion towards others. He constantly thinks about them (including those who are evil), and wants to help in some way. An example is on page 162, where the man and the boy meet Ely. “The boy squatted and put a hand on his shoulder. He’s scared, Papa.

(McCarthy 23). In this part of the book, he exemplified the act of sharing and balancing the scale between selfless and selfish behaviors. The man never wanted but to worry about the kid and leaving himself to more torture, but as a kid you learn to realize that we should all be treated equally. To continue on, another example is when they found a man dying in a basement,

For ages, people have been debating the idea of human morality and whether or not at its core humanity is good or bad. This philosophy is explored in Cormac McCarthy’s novel, The Road. The road is the story of a man and boy living in a post-apocalyptic world. Some cataclysmic event has crippled Earth’s natural ecosystem, leaving the skies engulfed in ash and the ground devoid of much life. The duo aim to journey south as a way to escape being frozen to death in the oncoming winter. During their journey, the boy and man come across different people and places that give them a better understand of what humanity has become and where they stand on that spectrum. Throughout The Road, McCarthy revisits the idea of being the “good guy” when there is no longer a need to, “carrying the fire” as it’s detailed in the book. The dichotomy between the boy’s moral conscience and the man’s selfish ideals helps develop McCarthy’s idea of humanity losing its selflessness in the face of danger.

The intentions of actions help decide whether it is morally good or evil. The man has many more blurred moral situations than the boy throughout the novel. One example of this is when he kills the “roadrat”(35), out of self-defense for his son. The man assures the boy “[they] are still the good guys”(39) even after he killed the man, because his initial intent was not to harm him. McCarthy demonstrates the idea that good gets evil and evil gets evil with the outcome of the “roadrat”. He refuses not to harm the boy and man and therefore gets killed. Although this exact situation is not the basis of the norm morality in modern society, it still helps demonstrate the triumph of good. In a regular world this intention of good can be applied to simple things, such as; a small lie in order to protect others. The novel helps demonstrate principles by using the extremes. In an apocalyptic

What makes Cormac McCarthy’s post-apocalyptic novel The Road stick out from most dystopian works is that The Road takes place not before or during but after the end. The novel follows a man and his son as they survive the dangers of what once was the United States after an unspecified calamitous event. There is not much left of the world: no food, no animals, and no hope. Many readers will ponder how someone could still be motivated to keep moving forward under such circumstances. If we were living in the same conditions as the man and the boy, this question might seem more imperative. But arguably it is a question that can be applied to today: what, if anything, makes human life valuable or worthwhile? Through the dialogue between the characters, the novel provides two conflicting arguments that serve as potential answers for this question. The first argument is hope, which is associated with the Christian religion, while the other argument is futility, which has a nihilistic outlook of the ravaged world. This paper will examine the Christian imagery and nihilistic arguments contained in the novel and how the moral systems of the two conflict. While at first The Road might present itself as a powerful challenge to both Christian and nihilistic views of the world, in the end, the novel never explicitly reject either worldview.

In a postmodern world it is worth contemplating in what we can put our faith. Does culture, religion, or God merit our trust? Or is this a world of mechanical and biological evolutionary processes void of any meaning and purpose? The Sunset Limited, “a novel in dramatic form,” by Cormac McCarthy, is a dialogue between two persons who approach each other from opposite worlds to answer these questions. Black, a born-again believer and ex-con, and White, a nihilistic college professor, attempt to determine whether belief in God is viable in this world and if life is worth living. Despite Black’s efforts to convince him otherwise, White remains a Depressed Self who denies God’s existence, affirms his view of the world as deranged, and leaves to complete his suicide.