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Biblicism, Tragedy, and Romance in the Fiction Of Trying the Stuff of Creation: Biblicism, Tragedy, and Romance in the Fiction of Cormac McCarthy Christopher John Thornhill, B.A., M.A. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy May 2016 Abstract This essay presents an analysis of the religious and philosophical ideas present in the early fiction of the contemporary American writer, Cormac McCarthy. It is intended as an intervention into the controversial debate within McCarthy scholarship concerning how the perceptibly ‘religious’ nature of the author’s fictions may be described according to recognised and coherent confessions or perspectives. I argue that McCarthy’s fictions cannot be shown to conform to any particular theological or metaphysical system without significant remainder on account of their being essentially heterogeneous in their construction; and that their religious ‘significance’ lies not in their communication of a positive message, but in the presentation of what is at stake in the contrary interpretations that they uphold. I argue that the essential heterogeneity of McCarthy’s fiction is a development of the author’s reception of the complex aesthetic of Herman Melville’s Moby-Dick and the posture of serious and searching scepticism which that touchstone of American literature presents. The peculiar aesthetic of Moby-Dick alloys the Hellenic and Hebraic imagination, creating a synthesis of the concrete images of mythical and biblical literature, and of the narrative patterns that are native to tragedy and to romance. The effect of this complex is a literary mode that performs a suspension or opposition between a shapeless, circular, mythical world, and the created and teleological worldview declared by the biblical religions. I demonstrate how McCarthy takes up and imaginatively revises this complex of ideas in three novels (Outer Dark, Child of God, and Blood Meridian) in terms of their relation to the motifs and tropes of tragedy and romance, with a particular concern for their relation to the literature of katabasis, or spiritual and metaphysical ‘descent’. The three novels I have selected demonstrate a consistent and developing approach to McCarthy’s examination of various accounts of the material and physical nature of the world. My analysis sets out how the author’s aesthetic and narrative strategy describes an opposition between a view that is attributable to a broadly defined atheistic naturalism on the one hand, and notions of a teleologically orientated creation that is concordant with the transcendent God of the biblical religions on the other. In providing this description, I interpret how McCarthy uses this Melvillean pattern to test the viability of such oppositions, and in doing so, argue that the author’s distinctive vision should be understood as an apophatic mode that is appropriate to a faith ‘beyond the forms of faith’. Acknowledgements I wish to express my gratitude to my supervisors, Alison Milbank and Agata Bielik-Robson, for their secure guidance throughout this research project. Both have been extraordinarily generous in sharing their time, expertise and patience throughout the course of my research. The work presented here has achieved its formation largely on account of their insightful criticism and direction throughout the duration of the project, and its completion is due in no small part to their sustained enthusiasm and warm friendship. It is my hope that they may find something within these pages that will repay their manifold donations. The necessity of working from day to day in relative solitude is perhaps one of the most daunting aspects of conducting research over several years, though I have been very fortunate to enjoy the company of many wonderful peers in the postgraduate community at Nottingham. I have been inspired and encouraged by the conversation and conviviality shared with Tarah Van de Wiele, Gabrielle Thomas, Ian Bacher, King Ho Leung, Mike Miller, Michael Di Fuccia, Sarah Farrell, Jon Price, Cat Quine, Helen Marshall, Mark Wreford, and Tim Murray. Particular thanks are due to certain scholars beyond the Department at Nottingham. Stuart Jesson has been a friend and conversation partner on many aspects of theology and literature for many years. This study has benefited especially from his generous assistance in navigating the philosophy of Simone Weil. Catherine Tomas provided some excellent bibliographic direction on the subject of the Tarot, for which I am most grateful. I am enormously thankful also for the practical support and encouragement provided by my family, without which the work required to complete this project would simply not have been possible. Katie Salzman provided me with invaluable assistance while working on the archival material held in the Southwestern Writers Collection in the Alkek Library at San Marcos, Texas. Yet, I reserve the greatest thanks for my wife, Bridget Thornhill. In the years in which I have been engaged in this study our lives have been touched by tragedy and by grace, and it is above all her love, patience and kindness that have been, and continue to be, my courage and my strength. I dedicate this work to our children: To Elijah, whose brief life blazed through the early period of this project and inspired many of its insights; and to Kezia and Isadora, who continue to be my guides to the wonders in this daunting world. Contents Introduction Cormac McCarthy 1 Mosaic texts: McCarthy and the literary tradition 5 McCarthy, religion and the idea of God 11 McCarthy’s Melvillean inheritance: Biblicism, tragedy, romance 23 Project outline 33 1. Word and Flesh: Origination, Transgression and Conversion in Outer Dark Introduction 41 Delivered into a deep gloom: Biblical and mythical family paradigms 50 Soaring darkness and auguries of dawn: Biblical metaphysics 60 If you cain’t name something you cain’t claim it: Biblical creation and the importance of the name 69 Manacled to his shadow: Culla’s Oedipal feet 75 They’s put here for a purpose: The role of animals 79 That grim triune: Infernal parodies of the divine 87 Agony and grace: Ambiguity at the end of the road 95 2. Some Halt In the Way of Things: Katabasis, Preservation and Survival in Child of God Introduction 107 In the woods and in men’s souls: Ballard’s pursuit of order 114 Lester Ballard: Child of God and child of nature 120 Looking to still the world: Ballard as tragic spectator 130 Descent to the dead: Ballard’s imitation of Christ 139 You all got it in for me: Fate, law, and providence 134 The color of grace: The blacksmith’s demonstration of redemption 147 How then is he borne up?: Survival and providence 151 Reconciled in the stars: Ballard’s resignation and rebirth 159 Dissolution and memory: Ballard’s death and preservation 167 3. Howling Voids and Silent Fires: Biblical Parody and the Agon of Exodus in Blood Meridian Introduction 176 A world beyond all reckoning: An examination of the title 187 A time before nomenclature was and each was all: The borderlands as proto-cosmic void 192 The blood is the life (of the darkness): Dionysiac vitalism in the void 204 Judge Holden: A grand ungodly god-like man 206 The spirit of the cards: The judge and the Tarot 212 That sootysouled rascal: The judge as infernal parody of God 215 Books lie: The judge’s eradication of creation and history 219 Something rotten in law: The judge and mythical violence 227 The dance of Dionysus, or the Anti-Christ 221 See the child: Biblical allusions in the life of the kid 234 God how the stars did fall: Biblical auguries of the kid’s birth 239 The ambiguity of the kid’s namelessness 242 The sound of sheer silence: The revelation of the hidden God 246 Secrecy and faithful dissent: The kid as tragic hero or silent prophet 252 Striking fire from the rock: Intimations of exodus and renewal in the Epilogue 258 Conclusion: On Wandering 267 Bibliography 273 Introduction Cormac McCarthy There can be little doubt that Cormac McCarthy (b.1933) is now to be counted among the most significant literary voices of the last half century. Having spent the best part of three decades publishing in obscurity, McCarthy and his work now enjoy belated acclaim by an increasing number of popular and critical readers. He has gained such honours as the Pulitzer Prize for Fiction and the PEN/Saul Bellow Award for lifetime achievement in American literature, and his works, which include ten published novels and a small clutch of dramatic works, have achieved a status that we might call canonical, even at a time when the idea of a canon has been subject to shrivening reassessments. McCarthy’s fictions, for the most part, hark back to familiar, even mythic, narrative patterns, in which the protagonists, usually young men, leave a disastrous domestic situation and venture into the sublime in anticipation of a new home, security and even on occasion, love, or commit transgressions that have terrible consequences. Yet, reading and interpreting McCarthy’s work is something of a trial in two major respects. The first is the subject matter, which charts degrees of human degradation and excesses of violence with a dedication that goes beyond even the direst confections of American writing in the twentieth century. The second challenge is the style and form of the fiction itself. McCarthy writes in a dense and richly allusive prose style - 1 - that is at times difficult to follow and determinedly difficult to interpret. His syntactic constructions are elaborate and often extended, although he uses minimal punctuation so that words and distinctive voices are woven together in a matrix of image and language. Moreover, the characters themselves are represented through bare accounts of their actions, with very little information from which to discern their interior lives and motivations, just as the formalities of conventional narrative are avoided.
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