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Summary
Summary
Now a major motion picture from Columbia Pictures starring Matt Damon, produced by Mike Nichols, and directed by Billy Bob Thornton.
The national bestseller and the first volume in Cormac McCarthy's Border Trilogy , All the Pretty Horses is the tale of John Grady Cole, who at sixteen finds himself at the end of a long line of Texas ranchers, cut off from the only life he has ever imagined for himself. With two companions, he sets off for Mexico on a sometimes idyllic, sometimes comic journey to a place where dreams are paid for in blood. Winner of the National Book Award for Fiction.
From the Trade Paperback edition.
Author Notes
Cormac McCarthy was born in Providence, Rhode Island on July 20, 1933. He attended the University of Tennessee, but interrupted his studies for four years to join the U.S. Air Force. He died of natural causes at his home in Santa Fe, N.M., on June 13, 2023. He was 89.
His first novel, The Orchard Keeper, was published in 1965. His other works include Outer Dark, Child of God, Suttree, and Blood Meridian. All the Pretty Horses, the first part of the Border Trilogy, which also includes The Crossing and Cities of the Plains, won the National Book Award in 1992. His novel No Country for Old Men was adapted into a film in 2007. He won the Pulitzer Prize in 2007 for The Road. He has also written plays and screenplays.
(Bowker Author Biography)
Reviews (4)
Publisher's Weekly Review
This is a novel so exuberant in its prose, so offbeat in its setting and so mordant and profound in its deliberations that one searches in vain for comparisons in American literature. None of McCarthy's previous works, not even the award-winning The Orchard Keeper (1965) or the much-admired Blood Meridian (1985), quite prepares the reader for the singular achievement of this first installment in the projected Border Trilogy. John Grady Cole is a 16-year-old boy who leaves his Texas home when his grandfather dies. With his parents already split up and his mother working in theater out of town, there is no longer reason for him to stay. He and his friend Lacey Rawlins ride their horses south into Mexico; they are joined by another boy, the mysterious Jimmy Blevins, a 14-year-old sharpshooter. Although the year is 1948, the landscape--at some moments parched and unforgiving, at others verdant and gentled by rain--seems out of time, somewhere before history or after it. These likable boys affect the cowboy's taciturnity--they roll cigarettes and say what they mean--and yet amongst themselves are given to terse, comic exchanges about life and death. In McCarthy's unblinking imagination the boys suffer truly harrowing encounters with corrupt Mexican officials, enigmatic bandits and a desert weather that roils like an angry god. Though some readers may grow impatient with the wild prairie rhythms of McCarthy's language, others will find his voice completely transporting. In what is perhaps the book's most spectacular feat, horses and men are joined in a philosophical union made manifest in the muscular pulse of the prose and the brute dignity of the characters. ``What he loved in horses was what he loved in men, the blood and the heat of the blood that ran them,'' the narrator says of John Grady. As a bonus, Grady endures a tragic love affair with the daughter of a rich Spanish Hacendado , a romance, one hopes, to be resumed later in the trilogy. (May) (c) Copyright PWxyz, LLC. All rights reserved
Kirkus Review
McCarthy's work (Blood Meridian, 1985, etc.) is essentially about fatality: grotesque human acts that lack self-direction, that seem to be playing out a design otherwise established. In his more gothic early works, this fatality had a hanging-moss quality that seemed to brush your face invisibly but chillingly as you worked your way through his books. More recently, ever since McCarthy turned into a high-class cowboy novelist, the fatality is, understandably, more spread out--punctured by boredom and ennui and long, lonesome plains. Here, John Cole Grady is a 1930's East Texas teenager, abandoned by his parents' troubles, who sets out with his pal Rawlins to ride across the border to Mexico. Along the way, they pick up an urchin named Blevins and arrive finally at a hacienda, where they're hired to break horses. Grady falls in love with the owner's beautiful daughter--a disaster that leads in succession to arrest and Mexican jail and murder in self-defense. But this cliché-d plot is not, of course, what one reads a McCarthy novel for. McCarthy is one of the most determined art- prose writers around; and his clean, laconic dialogue is pillowed everywhere with huge gales of imperial style: ``While inside the vaulting of the ribs between his knees the darkly meated heart pumped of who's will and the blood pulsed and the bowels shifted in their massive blue convolutions of who's will and the stout thighbones and knee and cannon and the tendons like flaxen hawsers that drew and flexed and drew and flexed at their articulations and of who's will all sheathed and muffled in the flesh and the hooves...''--and this is just half of the one sentence: no horse would ever move if it had to parse that out first. Like the late D.H. Lawrence at his worst and most pretentious, all blood-voodoo and animistic design, McCarthy makes an awfully unconvincing lot of a little here.
Booklist Review
John Grady Cole is verging on manhood, and over the course of this riveting novel, he takes the plunge. The time is immediate post-World War II; the place, West Texas. Cole is from rancher stock; he'd grown up loving the land and horses and appreciating his intended purpose in life: to follow in the footsteps of father and grandfather. But marital discord between his parents disenfranchises Cole from that purpose; and with a chum, he sets off on other pursuits--namely, to find his fortune across the river in Mexico. In the process, Cole finds affection of the female sort, a circumstance followed by arrest and jail under deplorable conditions. His release is his final passage into a fully adult existence. McCarthy's reputation as a literary writer of both considerable appeal and challenge is sustained by his latest novel, which is the first volume in a planned trilogy. He's not for readers who take their plots neat. McCarthy is more interested in creating moods in individual scenes than in weaving scenes into a tight whole. It's not that his novel is determinedly obscure. It's more like he's nearsighted: what's happening in the foreground is in good focus, but the background much less so. (Reviewed Apr. 1, 1992)0394574745Brad Hooper
Library Journal Review
Before this beautifully written novel, McCarthy's sixth and most accessible, won last year's National Book Award and became a best seller, its author was one of the least known of great American novelists. It is a simple story (the first in a trilogy) of three Texas youths whose flight to Mexico on horseback in 1949 traverses far more than geographical borders, marking a descent into the deeper forces of friendship, love, and cruelty. Its style owes an enormous debt to Hemingway, but it pays that debt with interest. That its laconic hero, John Grady Cole, proves resourceful beyond his years (and almost beyond belief) places the novel in the tradition of classic Westerns, but never has any Western been so well told. The novel's moral logic and McCarthy's mystique of ``blood'' are questionable, but there is poignancy in Cole's yearning to touch something in horses that has passed from the race of men, to find a depth of wisdom that can only come with age, and, like most of McCarthy's people, to escape what is deadly in modern American life. The unabridged version is one of the best recorded books to date, for Frank Muller's narration is such a perfect model of balance and control that it deserves an award in itself. In the Random House abridgment, film actor Brad Pitt simply doesn't compare. With a superb complete version on the market, there is no reason to settle for anything less.-- Peter Josyph, New York (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.