I’ve given up on finishing a western novel by Cormac McCarthy, Blood Meridian, which the New York Times has named as one of the most important works in American fiction. What I’ve learned from this book is that you can produce a successful novel without having a strong character, coherent plot, or consistent point of view. At the same time, I can see why some critics pay homage to it.
Tuesday, June 19, 2012
Review, McCarthy's Blood Meridian
TOO MUCH BLOOD
I’ve given up on finishing a western novel by Cormac McCarthy, Blood Meridian, which the New York Times has named as one of the most important works in American fiction. What I’ve learned from this book is that you can produce a successful novel without having a strong character, coherent plot, or consistent point of view. At the same time, I can see why some critics pay homage to it.
I’ve given up on finishing a western novel by Cormac McCarthy, Blood Meridian, which the New York Times has named as one of the most important works in American fiction. What I’ve learned from this book is that you can produce a successful novel without having a strong character, coherent plot, or consistent point of view. At the same time, I can see why some critics pay homage to it.
Blood Meridian is the effort of a brilliant mind. The writing
displays not only an exceptional command of language, but a unique ability to
conceptualize greater truths. McCarthy’s descriptions allow you to see the
commonplace in ways you’ve never considered before. Given that, you have to
wonder what the rampant violence means.
As far as characters go,
the story has no heroes, just villains. I’ve only made it to the half-way
point, and from this vantage, the “kid” seems to be the narrator, but at times the
story plays more to other characters. I can’t tell you what the kid looks like
nor what motivates him nor even what he thinks of the other characters, all of
whom commit astonishing acts of violence. He doesn’t have a character trait
that I can describe other than a proclivity for violence.
Events that arise while the
kid sallies forth, mostly in the desert, provide the plot, such as it is. He
joins a gang of scalp hunters who go from one murder to another. What serves
for tension, if you can call it that, is the inducement of another random
slaughter. However, the blood and gore is so ubiquitous the tension is drifting
into the mundane.
There are unacknowledged
shifts in point of view as various other characters take center stage. In some
instances, the kid becomes so peripheral you have to wonder if he’s in the
scene at all. If McCarthy distanced himself a few steps more from the story, it
would be omniscient.
Considering McCarthy
erudition, it’s disappointing to see anachronisms. The book takes place in the
1830s but we find references to steel, wire, electric kite, and matches. His
vocabulary, which is shot through with Spanish, occasionally sends me to the
dictionary, which, as it turns out, is also confused and doesn’t come up with
definitions. My guess is that some of the words are too archaic for
contemporary lexicons. On the other hand, maybe McCarthy is winking at us.
Whether or not words like awap, halms, squailed, clackdish, sallygate, or scrabbly are actual English words, they resonate in the context McCarthy has
given them.
It’s been reported that
Hollywood is interested in a film adaptation of Blood Meridian. I can only say that I won’t be seeing it.
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