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The Influence of Herman Melville's Moby-Dick on Cormac Mccarthy's Blood Meridian
UNLV Theses, Dissertations, Professional Papers, and Capstones 8-1-2014 The Influence of Herman Melville's Moby-Dick on Cormac McCarthy's Blood Meridian Ryan Joseph Tesar University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the American Literature Commons, and the Literature in English, North America Commons Repository Citation Tesar, Ryan Joseph, "The Influence of Herman Melville's Moby-Dick on Cormac McCarthy's Blood Meridian" (2014). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2218. http://dx.doi.org/10.34917/6456449 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE INFLUENCE OF HERMAN MELVILLE’S MOBY-DICK ON CORMAC MCCARTHY’S BLOOD MERIDIAN by Ryan Joseph Tesar Bachelor of Arts in English University of Nevada, Las Vegas 2012 A thesis submitted in partial fulfillment of the requirements for the Master of Arts – English Department of English College of Liberal Arts The Graduate College University of Nevada, Las Vegas August 2014 Copyright by Ryan Joseph Tesar, 2014 All Rights Reserved - THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Ryan Joseph Tesar entitled The Influence of Herman Melville’s Moby-Dick on Cormac McCarthy’s Blood Meridian is approved in partial fulfillment of the requirements for the degree of Master of Arts - English Department of English John C. -
AP 12 English Literature & Composition
AP 12 English Literature & Composition Summer Reading Assignment Congratulations on your choice to take AP Literature. Students choosing this course are interested in studying literature of various periods and genres and using this wide reading knowledge in discussions of literary topics. This is a college level course that requires careful reading and critical analysis of a work’s structure, style, and themes as well as smaller scale elements, such as the use of figurative language, imagery, symbolism, and tone. Thoughtful discussions and writing about complex, canonical texts in the company of one’s fellow students is our goal. It goes without saying that you should be reading a bit in preparation for this course. Specifically, we ask that you select and read one of the following texts and complete the assignments outlined to help us to build upon a common conversation at the beginning of the year. Reading Assignments: Before beginning your selection, read “How to Mark a Book” by Mortimer Adler. (The essay is easy to find on- line by searching for the title and author) Then choose one of the following texts to read and annotate according to Adler’s description: To the Lighthouse – Virginia Woolf The Scarlet Letter - Nathaniel Hawthorne Blood Meridian – Cormac McCarthy Slaughterhouse Five – Kurt Vonnegut On the Road – Jack Kerouac For Whom the Bell Tolls – Ernest Hemingway The Sound and the Fury – William Faulkner How the Garcia Girls Lost Their Accent – Julia The Joy Luck Club- Amy Tan Alvarez Ceremony - Leslie Marmon Silko All of these books are readily available at your local library and from major bookstores. -
Post-Apocalyptic Naming in Cormac Mccarthy's the Road
“Maps of the World in Its Becoming”: Post-Apocalyptic Naming in Cormac McCarthy’s The Road Ashley Kunsa West Virginia University In The Road(2006), Cormac McCarthy’s approach to “naming differently” establishes the imaginative conditions for a New Earth, a New Eden. The novel diverges from the rest of McCarthy’s oeuvre, a change especially evident when the book is set against Blood Meridian because their styles and concomitant worldviews differ so strikingly. The style of The Road is pared down, elemental: it triumphs over the dead and ghostly echoes of the abyss and, alternately, over relentless ironic gesturing. And it is precisely in The Road’s language that we discover the seeds of the work’s unexpectedly optimistic worldview. The novel is best understood as a linguistic journey toward redemption, a search for meaning and pattern in a seemingly meaningless world — a search that, astonishingly, succeeds. Further, I posit The Road as an argument for a new kind of fiction, one that survives after the current paradigm of excess collapses, one that returns to the essential elements of narrative. Keywords: apocalypse / Cormac McCarthy / New Earth / The Road / style ormac McCarthy’s Pulitzer Prize–winning tenth novel The Road (2006) gives us a vision of after: after the world has come to disaster, after any tan- Cgible social order has been destroyed by fire or hunger or despair. McCarthy here surrenders his mythologizing of the past, envisioning instead a post-apoca- lyptic future in which human existence has been reduced to the basics.1 Though the book remains silent on the exact nature of the disaster that befell the planet some ten years prior, the grim results are clear. -
“The Scalp Hunters”
“The Scalp Hunters” When I was at San Diego, a great many complaints were made by citizens there, and persons arriving from the Gila, of a gang of lawless men who had established a ferry over the Colorado, where not only they practised the greatest extortions, but committed murders and robberies . --Letter from General Persifer Smith to Capt. Irvin McDowell, May 25, 1850. The Yuma Crossing at the junction of the Colorado and Gila Rivers was once a key overland gateway to California. When the Gold Rush began in 1848, thousands of emigrants hurried across the hot Sonora Desert and forded the quarter-mile wide Colorado River at Yuma on San Diego County’s eastern border. One of the first ferry landings at Yuma was run by Dr. Able Lincoln, a physician from New York, who had recently fought in the U.S.-Mexico War. Mustered out at Mexico City in 1848, Lincoln had started for home but turned west when he heard word of the gold strikes in California. The difficult crossing of the Colorado River convinced Lincoln that a ferry business could be as valuable as gold. He built a boat and began carrying gold seekers across the river in January 1850. The ferry was lucrative success. Lincoln would write home to his parents in April, reporting he had ferried over 20,000 emigrants, all bound for the gold mines of California. “I have taken in over $60, 000,” he boasted. “My price, $1 per man, horse or mule $2, the pack $1, pack saddle 50 cents, saddle 25 cents.” Strangely, despite his profits, Lincoln did not expect to stay at the crossing longer than six months and “perhaps not more than a month.” “I shall sell at the first opportunity,” he wrote, adding ominously, “This is an unsafe place to live in.” Undisclosed in the letter to his family was the news that Lincoln had taken on an uninvited partner. -
Blood Meridian and the “Creation” of Historical Narrative by Josh Boissevain
Blood Meridian and the “Creation” of Historical Narrative by Josh Boissevain Each age tries to form its own conception of the past. Each age writes the history of the past anew with reference to the conditions uppermost in its own time. -Frederick Jackson Turner, The Significance of History History is a strong myth, perhaps . the last great myth. It is a myth that once subtended the possibility of an ‘objective’ enchainment of events and causes and the possibility of a narrative enchainment of discourse. The age of history, if one can call it that, is also the age of the novel. -Jean Baudrillard, Simulacra and Simulation In one sense, Cormac McCarthy’s Blood Meridian or the Evening Redness in the West is a book about the West; it is a book that bridges the gap between the “old” mythological and the “new” revisionist Western and creates a new direction for the genre to follow—that of a more realistic myth. It uses and inverts several classic aspects of the cliché western and pairs them with themes and issues associated with modern historical interpretations of the West, generating a new type of Western. It is an example of what Richard Slotkin would term a productive revision of myth. In another sense, Blood Meridian is a book about much more than the West; it is a book about history and the representation of history. It is a critique on the process in which “history,” (the textual representation of past events where thematic sequence and significance are artificially imposed) is created—and continuously recreated—to fit the hegemonic cultural narrative. -
Death Hilarious”: the Humor of Combat and the American Wars on Terror
“Death Hilarious”: The Humor of Combat and the American Wars on Terror Captain Grant Blaine Pinkston, USA Columbia, Tennessee Bachelor of Arts in History, Harding University, 2005 Master of Arts in Intelligence Studies, American Military University, 2016 A Thesis presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Master of Arts Department of English University of Virginia May, 2018 Pinkston | 1 A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces of uniform still tracked with the blood of prior owners, coats of slain dragoons, frogged and braided cavalry jackets, one in a stovepipe hat and one with an umbrella and one in white stockings and a bloodstained weddingveil and some in headgear of cranefeathers or rawhide helmets that bore the horns of bull or buffalo and one in a pigeontailed coat worn backwards and otherwise naked and one in the armor of a Spanish conquistador, the breastplate and pauldrons deeply dented with old blows of mace or sabre done in another country by men whose very bones were dust and many with their braids spliced up with the hair of other beasts until they trailed upon the ground and their horses ears and tails worked with bits of brightly colored cloth and one whose horse’s whole head was painted crimson red and all the horsemen’s faces gaudy and grotesque with daubings like a company of mounted clowns, death hilarious, all howling in a barbarous tongue and riding down upon them like a horde from a hell more horrible yet than the brimstone land of Christian reckoning, screeching and yammering and clothed in smoke like those vaporous beings in regions beyond right knowing where the eye wanders and the lip jerks and drools. -
Another Kind of Clay: a Reading of Blood Meridian Dan Gjelten University of St
University of St. Thomas, Minnesota UST Research Online English Master's Essays English 5-2000 Another Kind of Clay: A Reading of Blood Meridian Dan Gjelten University of St. Thomas, Minnesota, [email protected] Follow this and additional works at: https://ir.stthomas.edu/cas_engl_mat Part of the English Language and Literature Commons Recommended Citation Gjelten, Dan, "Another Kind of Clay: A Reading of Blood Meridian" (2000). English Master's Essays. 1. https://ir.stthomas.edu/cas_engl_mat/1 This Thesis is brought to you for free and open access by the English at UST Research Online. It has been accepted for inclusion in English Master's Essays by an authorized administrator of UST Research Online. For more information, please contact [email protected]. Another Kind of Clay: A Reading of Blood Meridian Daniel R. Gjelten Presented to: Professor Lon Otto Professor Robert Miller Professor Andrew Scheiber Master of Arts in English Master’s Essay University of St Thomas May, 2000 2 Another Kind of Clay: A Reading of Blood Meridian And God said, “Let there be lights in the firmament of the heavens to separate the day from the night; and let them be for signs and for seasons and for days and years, and let them be for lights in the firmament of the heavens to give light upon the earth. Genesis 1:14-15 And the Lord God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul. Genesis 2:7 The desert country of the southwestern United States has little similarity to the landscape described in the creation story as we read it in Genesis – it is undoubtedly even harsher than the land to the east of Eden to which Adam and Eve are driven by God. -
Riding Into Myth: Manifest Destiny, Nietzschean Ethics and the Creation of a New
Riding into Myth: Manifest Destiny, Nietzschean Ethics and the Creation of a New Western Frontier Mythology in Cormac McCarthy’s Blood Meridian A thesis submitted in fulfilment of the requirements for the degree of Master of Arts at Rhodes University by Christopher Edley December 2016 Supervisor: Professor D.G.N. Cornwell Table of Contents Abstract Acknowledgments Introduction 1 Chapter 1: McCarthy and the American Age of Heroes: Blood Meridian as Myth 5 I. The Mythology of the West: Origins and Uses 7 II. Blood Meridian as Epic 9 III. Narrative Structure and Form in Mythology and Their Impact upon Blood Meridian 17 IV. Hesiod and the Age of Heroes 22 V. The W est as Heroic Setting, Black Jackson and McCarthy’s Treatment of Race 28 VI. The Codification of the Mythology of the American West 31 VII. The Death of John Joel Glanton: The Price of Hubris 33 VIIL Frederick Jackson Turner’s “Frontier Thesis” as a Unifying Theory 38 Chapter 2: “Hell, there’s no God in Mexico”: McCarthy’s Critique of Manifest Destiny in Blood Meridian 43 I. Introduction 43 Blood Meridian's Literary Influences and Manifest Destiny 48 Manifest Destiny and American Foreign Policy 59 Captain White and the Filibusters: A Case Study in Conquest Ideology 64 The Attack of the Comanche: Blood Meridian’s Grisly Inversion of Manifest Destiny 78 Scalping: The Currency of the American West and Its Treatment in Blood Meridian 80 The Judge as Nietzschean Ubermensch and an Alternative Reading of the Ending of Blood Meridian 89 The Judge as Ubermensch 90 The Kid as the Judge’s Protege and Philosophical Foil 93 The Judge and Morality: An Exercise in Nietzschean Ethics 97 Blood Meridian, Heart o f Darkness and Apocalypse Now : ideas on possible common influences 102 The Judge and Representation as Will to Power 112 The Final Confrontation 118 125 129 Abstract Cormac McCarthy’s Blood Meridian or the Evening Redness in the West is a provocative evocation of the American West that has attracted a wide range of critical responses. -
Postmodern Narrative of Blood Meridian Shuquan Zhan1, Jiemin Feng1*
Advances in Social Science, Education and Humanities Research, Volume 496 Proceedings of the 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020) Deconstruction and Subversion: Postmodern Narrative of Blood Meridian Shuquan Zhan1, Jiemin Feng1* 1School of Foreign Languages, Xinhua College of Sun Yat-sen University, Guangzhou, Guangdong 510520, China *Corresponding author. Email: [email protected]. ABSTRACT This thesis explores Cormac McCarthy’s classic postmodern novel Blood Meridian from three dimensions, that is, deconstruction of western expansion, subversion of religious myths, and anti-hero narrative. It unearths how the writer through interaction between history and text decomposes the grand narrative of western myths and Manifest Destiny established in American westward movement, and unmasks the imperialist truth of violence neglected or even intentionally concealed in the historical process. The paper provides a new observation perspective to comprehend the current acts that America is suppressing resistance from middle and lower classes domestically and carrying out hegemonism internationally. Keywords: Blood Meridian, postmodernism, deconstruction, war, religion, hero Glanton Gang scalp-hunters’ slaughtering of Indians at the America-Mexico borderland. The novel deconstructs the religious myth of American Manifest Destiny by depicting 1. INTRODUCTION Glanton Gang’s wanton slaughtering in the dilapidated religious space and the protagonist judge’s defiance of The main characteristics of postmodern literature lie in religions. In terms of character portraying, the protagonist deconstructing the grand narrative and flattening the depth “the kid” is depicted as a typical post-modernist flattened of meaning, so as to remove the binary opposition between image, free of traditional heroic peculiarities expected in a phenomenon and essence, dominance and recessiveness , western cowboy. -
“If God Meant to Interfere”: Evolution and Theodicy in Blood Meridian
“IF GOD MEANT TO INTERFERE”: EVOLUTION AND THEODICY IN BLOOD MERIDIAN Christopher Douglas The kid spat dryly and wiped his mouth with the back of his hand. A lizard came out from under a rock and crouched on its small cocked elbows over that piece of froth and drank it dry and returned to the rock again leaving only a faint spot in the sand which vanished almost instantly.1 The opening pages of Cormac McCarthy’s Blood Meridian introduce the character of Judge Holden at an evangelical tent revival meeting held in Nacogdoches in 1849. The anonymous protagonist of the novel, called only “the kid,” has slipped into Reverend Green’s “nomadic house of God” (6) to get out of the rain. He hears the preacher describe the constancy of God’s love—“Don’t you know that he said I will foller ye always even unto the end of the road?” including “these here hell, hell, hellholes right here in Nacogdoches” where the temptations of alcohol and prostitution await (6). This conviction of human sin coupled with God’s promise of constancy set the stage for a presumable altar call: Reverend Green will invite his tent revival audience to recognize their own sinfulness and need for redemption and that only faith in Jesus Christ, who died for our sins, offers the salvation they need. This evangelical invitation to be born again is interrupted by the judge— perhaps the most enigmatic and terrifying character in all American lit- M L 45.2 (Summer 2013) 83 84 Religion & Literature erature—who steps into the tent to address the audience with charges of imposture and iniquity. -
A Struggle for Voice in Cormac Mccarthy's Blood Meridian
Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 1-2014 The Judge’s Hold: A Struggle for Voice in Cormac McCarthy’s Blood Meridian Daniel R. Johnson Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the American Literature Commons, Fiction Commons, Literature in English, North America Commons, and the Modern Literature Commons Johnson, Daniel R., "The Judge’s Hold: A Struggle for Voice in Cormac McCarthy’s Blood Meridian" (2014). Pell Scholars and Senior Theses. 96. https://digitalcommons.salve.edu/pell_theses/96 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. The Judge’s Hold: A Struggle for Voice in Cormac McCarthy’s Blood Meridian by Dan Johnson Dr. Sally Gomaa ENG 489: Critical Research and Writing 14 December, 2012 Introduction Cormac McCarthy’s Blood Meridian is an American novel that has drawn much critical analysis out of scholars in the late twentieth century because of its clear commentary on the ways in which the American west was acquired. The text is awash with gratuitous violence, historical reflections, metaphors, symbolism and storytelling; all of these components together synthesize a piece that effectively brands a modern interpretation on the idea of American national identity. Many studies, including this one, have been undertaken as a result because such a text is ripe for interpretation, analysis and research in a postmodern, American world in which history has become a reflexive concept—far from an understood truth or reality—that is constantly being questioned and challenged. -
Suttree and Blood Meridian in Translation
TRAN 6476S-90: WORKSHOP ON LITERARY AND CULTURAL TOPICS Revised 3/17/08 READING CORMAC McCARTHY IN ENGLISH AND SPANISH: SUTTREE AND BLOOD MERIDIAN IN TRANSLATION Luis Murillo Fort Semester: Spring 2007 Professor: Dr. Michael Scott Doyle Meeting times: W, 5-7:45 Office: COED 423, Tel. 687-4274; [email protected] Location: COED 402 Office Hours: MW 3:30-4:30 and by appointment CONTEXT AND DESCRIPTION. If this myth is tragic, that is because its hero is conscious (. .) The struggle itself toward the heights is enough to fill a man's heart. One must imagine Sisyphus happy. “The Myth of Sisyphus,” Albert Camus The good utopian promises himself to be, primarily, an inexorable realist. Only when he is certain of not having acceded to the least illusion, thus having gained the total view of a reality stripped stark naked, may he, fully arrayed, turn against that reality and strive to reform it, yet acknowledging the impossibility of the task, which is the only sensible approach (. .) To declare its impossibility is not an argument against the possible splendor of the translator’s task. “The Misery and Splendor of Translation,” José Ortega y Gasset Can a translation ever communicate to its readers the understanding of the foreign text that the foreign readers have? “Translation, Community, Utopia,” Lawrence Venuti What will he do with the rebellious text? Isn’t it too much to ask that he also be rebellious, particularly since the text is someone else’s? “The Misery and Splendor of Translation,” José Ortega y Gasset Doyle TRAN 6476 Syllabus Page 2 The task of the translator is surely to work out a strategy that allows the most insistent and decisive effects of that performance to resurface in the translated text and to assume an importance sufficient to suggest the vital status of stratified or contrapuntal writing in the original.