Cormac McCarthy: Explorer of Humanity’s Core Essay

Through her essay, “Some Aspects of the Grotesque in Southern Fiction”, she defends the individuality and moral value of Southern fiction. She makes a clear distinction between the correct and incorrect usages of the “grotesque”. Many fiction authors, particularly those from the North, write stories that deal with social and economic issues. O’Connor disagrees with this tradition. Fiction, she argues, should not reflect the concerns of the public but rather the perspective of the author. It should “distort” the reader in a way that does not “destroy… [but] reveals” and that requires a lot of self-reflection on the author’s part who must then transmit that vision to his or her readers no matter how skeptical they may be (“Novelist and Believer”). And the reader must approach the story from an open-minded position. They should not expect the story to be uplifting or entirely pleasant. Only then would readers be able to understand that seemingly “grotesque” characters hold much more moral value than at

​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

To the casual reader, the writing of Flannery O'Connor can seem cold and void of emotion. Her storylines are like a misty fog in the dead of winter, enveloping the reader with a harsh even violent atmosphere. Her short stories regularly end in traumatic, freak deaths or, at the very least, a character's emotional destruction. An analysis of “Greenleaf,” “Everything that Rises Must Converge,” or “A Good Man is Hard to Find,” will leave the reader feeling empty. The imagination of the reader is not engaged on any level. There is an under current of anti-religion which is intensified by cruelty. O’Connor’s writing is filled with symbolism which is camouflaged by her writing style. Although her writing style is not considered by experts as

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.

In this essay, M.D. will analyze the roles and choices the main characters made while relating them to the main theme of good versus evil and fate versus free will in Cormac McCarthy’s No Country for Old Men.)

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

Gothic writers are well known for their works that induce grotesque and demented images to enter a reader’s brain. However, blood and gore is not the only way that Gothic writers can make your skin crawl, and the hair on the back of your neck rise. Gothic literary works contain themes of supernatural occurrences, and entrapment to induce feelings of fear, and mystery into the reader.

In the first pages of the book McCarthy paints a vivid picture of this world through a short dialogue, “Are we going to die? Sometime. Not now. And we’re still going south. Yes. So we’ll be warm. Yes. Okay. Okay what? Nothing. Just okay. Go to sleep. Okay. I’m going

Throughout Southern literature, the authors of Southern text use religion to convey emotion through grotesque-life changing events and concepts. An article titled “Flannery O’Connor’s Rage of Vision”, by Claire Katz discusses how O’Connor’s literature feature religion and Christianity to throughout the literature. The author states, “Since O’Connor had identified her theme as Christian, it is no surprise to find critics discussing this prototypical pattern in religious terms; the protagonist is humiliated in order to recognize his state of sin, and is thus open to grace and redemption.”(55) Therefore, this essay will examine and explain the abstract Christian components illustrated among multiple texts written by Flannery O’Connor and provide textual evidence to support the abstract findings from within the texts.

Southern gothic is a type of literature that focuses on the harsh conflicts of violence and racism, which is observed in the perspective of black and white individuals. Some of the most familiar southern authors are William Faulkner, Flannery O’Connor, and Cormac McCarthy. One author in particular, Flannery O’Connor, is a remarkable author, who directly reflects upon southern grotesque within her two short stories, “A Good Man is Hard to Find” and “Revelation.” These two short stories are very similar to each other, which is why I believe that O’Connor often writes with violent characters to expose real violence in the world while tying them in with a particular spiritual insight.

Cormac McCarthy’s novel, No Country for Old Men, enlightens the life of Llewellyn Moss, a welder and Vietnam veteran, who happens to stumble upon several murdered bodies, a sufficient supply of cocaine, and two million dollars of cartel drug money. Moss decides to seize the money and consequently sets off a chase for his life against the old hand sheriff Ed Tom Bell and hired psychopathic killer Anton Chigurh. However, McCarthy essentially exploits Moss’ and Chigurh’s escapade only as a subplot and ultimately conveys a deeper meaning. The novelist heavily relies on Bell’s failure to reconcile his morals of the approach crime used to take years before. Through analyzing the characters, moral relativism, and

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

Throughout the course of history, literature has gone through considerable changes. Dating back to its humble beginnings in folklore, fables, and storytelling all the way up to the scientific books and dramatic novels of today. Literature is arguably the centerpiece of all mankind. It is useful for record keeping, education, and bringing cultures and societies together. It has allowed us to expand our minds by painting a picture of the beautiful places this world has to offer outside of our corners of the earth. One genre of literature I find especially intriguing is Southern Gothic Literature. It is a subclass of gothic fiction, specifically set

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.