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- Sales Rank: #2501215 in Books
- Published on: 2001
- Binding: Paperback
Most helpful customer reviews
504 of 534 people found the following review helpful.
McCarthy's masterpiece
By Peter Kettle
Blood Meridian
by Cormac McCarthy
Blood Meridian, by Cormac McCarthy, is the most overwhelming novel I've read for years. I came late to it in two senses. It's almost 20 years since it was published in 1985, and it is late in my own reading life, because I'm 63. I read it on holiday. Not a comfortable choice, and certainly not the best thing to relax with on a sunlounger, while supping a drink with a hat on. But Blood Meridian is, at the risk of sounding pretentious, on a par with Faulkner's 'As I Lay Dying' or Beckett's 'Waiting For Godot' or even that most astounding work of all, 'King Lear'. High claims, but give it a try.
You might well have to try it more than once, because it is very strong, and at times even rancid, meat. But a lot of people, after they've closed the book, might find they can't read another novel for a while.
I finished the book, and picked up another. But the pages were slipping by and all my head could think on was Blood Meridian. So I did something I very rarely do. I put the other novel down and turned back to Blood Meridian, and read it again. It's a hell of a book. And I'm not speaking particularly metaphorically. It tells us more about the human condition than most other respectable works we laud so much. Blood Meridian is original, disturbing, heretical, challenging, difficult, and awe inspiring. Just like King Lear.
Here endeth my rant.
129 of 135 people found the following review helpful.
Hard work that more than rewards the effort
By Jacob G Corbin
his was one of those things where I'd heard about the book, in bits and pieces, for years: namechecked by William Gibson in Virtual Light and by Garth Ennis in Preacher, yapped about by online friends, and requested every so often by customers at the bookstore where I once worked. You know how this kind of thing goes: after a while, all these name-droppings have a cumulative impact, flipping a little switch in your brain one day and sending you off in search of the item in question. So that's how I came to Blood Meridian - knowing the book by its notorious reputation alone and little else. Having finally finished it, I can say that its notoriety is richly deserved, but that's hardly the whole story.
The premise could be described for the ADD among you as Huckleberry Finn meets Natural Born Killers, which hardly sounds flattering, I'm sure, but bear with me. The story opens on the peregrinations of the Kid, a vicious, knife-fighting fourteen-year-old runaway from Tennessee who in 1848 drifts down the Mississippi first to New Orleans and thence to Texas, where he falls in with a rogue Army unit making a piratical raid into Mexico. After Apaches wipe out the unit in the Sonora desert, the Kid lands in a Mexican jail, where he meets and is recruited by a group of bounty hunters retained by the government to collect Indian scalps as retaliation for a string of Apache massacres in remote border villages.
Here is where the story really begins. The Kid is absorbed into the gang, a collection of opportunists, outlaws, drifters and psychopaths presided over by two domineering personalities: the nominal leader of the group, Ike Glanton, a mercenary ex-soldier with a nasty temper and a deep vein of sadism, and Glanton's advisor, the fat, hairless, urbane, and utterly mercurial Judge Holden. The gang finds an Indian tribe - not the marauders but a peaceful fishing village - and slaughters it utterly. But unable to catch the ever-elusive Apaches, the company elects to pursue easier prey; namely, the defenseless villages and mining camps littering the arid wastes of the Southwest. As their bounty hunt turns into a genocidal murder spree, the gang, and even Glanton, forget their simple mercenary aspirations and become increasingly captivated by the magnetism of the Judge, who tells them they are agents of a pitiless natural law, high priests sacrificing the undeserving to a blood-soaked pagan god.
The Kid, his ego subsumed by the group organism, essentially disappears from the book as Glanton and the Judge assume center stage. Occasional chapters deal with other members of the gang - an apostate priest, a runaway slave - but their individuality is eventually consumed too. The narrative becomes increasingly distant and godlike - rather than seeing their surroundings through the eyes of the gang, we see the gang from the point of view of, for instance, the wind passsing through their camp. They go beyond a place where most readers could follow, so like elusive elementary particles, we have to look for understanding in the marks left by their passage.
The book is a fantasia of luridly-described, Hammer-horror violence set against a landscape whose harsh geography is, like the wildernesses of the Bible or the open seas of Melvile, spiritual in nature as well as temporal, a place where men come to commune with higher or lower powers. In fact, as a quick glance at Amazon shows, it's nigh-on impossible to review this book without invoking Melville or the Bible. McCarthy's prose seems to have rumbled out of the hollow places of the earth itself; even his descriptions of innocuities like tumbleweeds and roadrunners can sound like passages from "Sinners in the Hands of an Angry God."
Let me be clear: this book is not a "revisionist western." It is not an apologia. McCarthy is not tut-tutting and bewailing the fate of the proud, noble Indian; in point of fact, many of the Indians in this book are as messed-up and psychopathic as the whites. His vision is bigger than that. He's talking about the nature of violence - the little stain of destructive insanity in all of us that is not adequately explained by genetics or psychology or class theory. Original sin, if you like. The problem, as McCarthy sees it, is not that white people are bad. It is not even that civilization is bad - the natives, as McCarthy reminds us, had a civilization too. The problem is that people have evil inside of them at a fundamental level, and when they're cut loose from their moorings and isolated in an unforgiving environment, that mindless, all-consuming blackness is free to bubble up to the surface.
So yeah. The book is as dense and heavy-duty as it sounds - indeed, even at a slim 350 pages it's tough going. I had to take a couple of long breaks to cleanse my literary palate with lighter fare. But even so, I predict I will be coming back to Blood Meridian often in the future - like a pile of bloodsoaked treasure, there are ample rewards here for people willing to get their hands dirty, and like murder, it can only get easier with practice.
338 of 367 people found the following review helpful.
The Sanctity of Blood
By A Customer
I've read all of Cormac McCarthy's earlier books set in Tennessee, such as "The Orchard Keeper" and "The Outer Dark" and I've read his "Border Trilogy" which contained the wonderful, "All the Pretty Horses." Nothing, however, that this wonderful author has written can prepare the reader for the sheer brutality and the sheer lyricism of "Blood Meridian."
The Old West portrayed in "Blood Meridian" is not the Old West of Zane Grey or even of Larry McMurtry. Images of the most horrific abound in "Blood Meridian," (charred human bones, blood-soaked scalps, a tree hung with the bodies of dead infants), all rendered in McCarthy's gorgeously lyrical writing.
As far as I'm concerned, "Blood Meridian" is McCarthy's best book, by far. It doesn't have the "feel good" qualities sometimes found in "All the Pretty Horses" but I didn't expect it to. "Blood Meridian" is the book in which McCarthy makes crystal clear the one theme that runs through all of his writing: the undeniable presence of evil in the world. The fact that he writes about this evil in language so lyrical and so elaborately beautiful only intensifies the horror of it all. We feel as though we have left the real world behind and entered into some surreal place from which no escape is possible.
"Blood Meridian," which takes place in 1847, is loosely based on actual events and is the story of a fourteen boy, known only as "the Kid." Drifting through the American Southwest, the Kid joins a disparate and bloodthirsty band of Indian-hunters-for-hire led by a mysterious and learned man called, Judge Holden.
It is after the Kid joins Judge Holden and his band that McCarthy really hits his stride. Juxtaposed next to descriptions of the most horrific and grotesque are images of the most sublime beauty. Consider this description of a group of Indians, "...wardrobed out of a fevered dream with the skins of animals and silk finery...one in a stovepipe hat and one with an umbrella and one in white stockings and a blood stained weddingveil." That's prose most authors would kill for.
McCarthy, unlike most writers who portray horror, concentrates not on the horrific images themselves, but on his characters' reactions to them. I'm not at all surprised at this, for McCarthy is not a horror writer; he is a writer of literature of the very highest order.
Although many people would have expected McCarthy to keep his emphasis on the Kid, he chooses to concentrate on the character of Judge Holden instead. Anyone who has read this book knows it was a good choice for the Judge is the dominant personality in "Blood Meridian" and all the other characters in this book are defined only in relation to the Judge. It is also the Judge who exemplifies McCarthy's major themes and it is he (the Judge) who becomes a metaphorical and spiritual father to all of McCarthy's later characters.
This is not a typical "Western novel," not even a very, very good "Western novel." In this book, the line between the victims the perpetrators of evil is subtlely drawn...if it is drawn at all. McCarthy seems to be telling us that all men are villains, all men are perpetrators, all men are bloodthirsty...if only the reward is high enough. And for some, evil, itself is its own reward.
I am giving nothing away by saying that the ending of this book is a sophisticated and stylistic masterpiece involving both the Judge and the Kid. The last image we have of the Judge is one that epitomizes the sheer lunacy of the man. In a saloon where a trained bear dances on the stage, we see the Judge, "...naked, dancing...He says that he will never die." In a beautiful and enigmatic epilogue, however, McCarthy skillfully denies the Judge the last word in the novel.
This is a sophisticated and complex book, far more complex that it would appear on the surface or even after one reading. It is filled with the Faulknerian prose that has become a McCarthy trademark (though McCarthy employed it less in "The Border Trilogy"). These convoluted sentences, (in my opinion, far better than anything Faulkner ever wrote), can be difficult, since they contain within them the seed of all of McCarthy's writing.
This brilliant novel is more than just a book; it is an experience. It is an experience of horror, of beauty, of the insanity of man. Set in a time when man attempted to sanctify himself in the blood of other men, this is, without a doubt the rawest exposition of horror I have ever read, yet, at the same time, it is probably the most beautiful book I have ever read as well. It is something that simply defies description. Read it for yourself and see.
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