“No Country for Old Men” by Cormac McCarthy

The lord of horses and cowboys follows a modern-day Texas manhunt -- and a botched drug deal -- in this hard-boiled cinematic thriller.

Topics: Fiction, Books,

"No Country for Old Men" by Cormac McCarthy

As a matter of fair warning, know the following about Cormac McCarthy’s new novel “No Country for Old Men”: Women exist mainly to show primordial attraction and inarticulate loyalty toward men; men are more at ease sawing off shotgun barrels or dressing their own bullet wounds than they are in the presence of women, children or their own emotions; any character you find yourself rooting for is likely to be murdered within a few pages; and the old sheriff who acts as the book’s moral compass will complain, twice, about young people “with green hair and bones in their noses.” But to be put off by McCarthy’s crusty machismo would be to miss out on a taut thriller that not only holds, but also rewards, close attention.

Like several of McCarthy’s previous novels, “No Country for Old Men” chronicles a series of violent deaths along the Texas-Mexico border. But this time the setting is 1980, and instead of horses and land the mayhem revolves around a leather case packed with $2 million in drug money. Llewelyn Moss, a welder hunting antelope near the Rio Grande, comes across the remains of a botched heroin deal — shot up 4×4 trucks, Mexicans and the leather case. Moss carries the case away and becomes the object of competing manhunts. Among the hunters are Sheriff Bell, who shares a hometown with Moss and his wife, Carla Jean; Carson Wells, an ex-Special Forces officer hired by the case’s original owner; and Anton Chigurh, a freelance killer who dispatches some of his victims with a pneumatic prod made for slaughtering cattle. At one point Chigurh forces Carla Jean to call a coin toss for her own life. Where it falls is in keeping with the general tilt of the plot.

For all his hard-earned reputation as a throwback, McCarthy is a thoroughly cinematic novelist, and never more so than in “No Country for Old Men.” Here he sheds the bombast that weighs down some earlier works and leaves intact the precise description of movement and action for which he is justly famous. Here is Moss in a hotel room customizing a new gun:

He “unwrapped the shotgun and wedged it in an open drawer and held it and sawed the barrel off just in front of the magazine. He squared up the cut with the file and smoothed it and wiped out the muzzle of the barrel with a damp facecloth and set it aside.”

Nothing extraordinary perhaps, but even Ashton Kutcher would know just what to do during filming. Later we see and hear Chigurh offing a man at the same hotel:

“Chigurh shot him three times so fast it sounded like one long gunshot and left most of the upper part of him spread across the headboard and the wall behind it. The shotgun made a strange deep chugging sound. Like someone coughing into a barrel.”

(Not surprisingly, the movie rights to “No Country for Old Men” have already been sold. The job of adapting the screenplay should be the easiest money a writer ever made.)

But what’s so special about meticulous descriptions of gunplay? What separates McCarthy from high-grade pulp? The short answer is that the violence is headed somewhere unexpected. In what is sure to make for an adrenalized movie scene, an encounter between Moss and Chigurh leads to a chaotic shootout through the streets of Eagle Pass. Buckshot rattles off of balustrades and shatters windows, cars skid sideways down Main Street in clouds of rubber smoke, and Moss eventually staggers away wounded. In a run-of-the-mill thriller, the scene would be revisited, if at all, in a quick mention of police tape and bloodstained sidewalks. In “No Country for Old Men,” we get the hired hand, Carson Wells, inspecting the aftermath and discovering the victim of a stray bullet:

“A darkened room. Smell of rot. He stood until his eyes were accustomed to the dimness. A parlor. A pianola or small organ against the far wall. A chifforobe. A rockingchair by the window where an old woman sat slumped.”

Wells snaps a couple of photographs of the corpse and, when he catches up with the convalescing Moss, presents them to him. The 10 pages of dialogue that follow are as pitch-perfect and riveting as any that have been put on paper. The scene ends this way: “When he was gone Moss turned up the photographs lying on the bed. Like a player checking his hole cards.”

“There’s no such thing as life without bloodshed,” McCarthy said 13 years ago in a rare interview. And like his character Moss, McCarthy can’t help peeking. The constant question underlying his fiction is how we are to live on in the face of this knowledge. At the end of “No Country for Old Men,” in the last of his ruminations that punctuate the book, Sheriff Bell poses a version of this question as he ponders the unknown mason of an old water trough:

“That country had not had a time of peace of any length at all that I knew of … But this man had set down with a hammer and chisel and carved out a stone water trough to last ten thousand years. Why was that?”

Bell’s answer surely echoes McCarthy’s own project as a writer:

“And I have to say that the only thing I can think is that there was some sort of promise in his heart. And I dont have no intentions of carving a stone water trough. But I would like to be able to make that kind of promise.”

Here’s hoping the stone trough makes the director’s cut.

Read more of our reviews of this summer’s best fiction.

Ira Boudway is a freelance writer in Brooklyn and frequent contributor to Salon.

More Related Stories

Featured Slide Shows

  • Share on Twitter
  • Share on Facebook
  • 1 of 22
  • Close
  • Fullscreen
  • Thumbnails

    Once upon a time on the Bowery

    Talking Heads, 1977
    This was their first weekend as a foursome at CBGB’s, after adding Jerry Harrison, before they started recording the LP “Talking Heads: 77.”

    Once upon a time on the Bowery

    Patti Smith, Bowery 1976
    Patti lit up by the Bowery streetlights. I tapped her on the shoulder, asked if I could do a picture, took two shots and everyone went back to what they were doing. 1/4 second at f/5.6 no tripod.

    Once upon a time on the Bowery

    Blondie, 1977
    This was taken at the Punk Magazine Benefit show. According to Chris Stein (seated, on slide guitar), they were playing “Little Red Rooster.”

    Once upon a time on the Bowery

    No Wave Punks, Bowery Summer 1978
    They were sitting just like this when I walked out of CBGB's. Me: “Don’t move” They didn’t. L to R: Harold Paris, Kristian Hoffman, Diego Cortez, Anya Phillips, Lydia Lunch, James Chance, Jim Sclavunos, Bradley Field, Liz Seidman.

    Once upon a time on the Bowery

    Richard Hell + Bob Quine, 1978
    Richard Hell and the Voidoids, playing CBGB's in 1978, with Richard’s peerless guitar player Robert Quine. Sorely missed, Quine died in 2004.

    Once upon a time on the Bowery

    Bathroom, 1977
    This photograph of mine was used to create the “replica” CBGB's bathroom in the Punk Couture show last summer at the Metropolitan Museum of Art. So I got into the Met with a bathroom photo.

    Once upon a time on the Bowery

    Stiv Bators + Divine, 1978
    Stiv Bators, Divine and the Dead Boys at the Blitz Benefit show for injured Dead Boys drummer Johnny Blitz.

    Once upon a time on the Bowery

    Ramones, 1977
    “The kids are all hopped up and ready to go…” View from the unique "side stage" at CBGB's that you had to walk past to get to the basement bathrooms.

    Once upon a time on the Bowery

    Klaus Nomi, Christopher Parker, Jim Jarmusch – Bowery 1978
    Jarmusch was still in film school, Parker was starring in Jim’s first film "Permanent Vacation" and Klaus just appeared out of nowhere.

    Once upon a time on the Bowery

    Hilly Kristal, Bowery 1977
    When I used to show people this picture of owner Hilly Kristal, they would ask me “Why did you photograph that guy? He’s not a punk!” Now they know why. None of these pictures would have existed without Hilly Kristal.

    Once upon a time on the Bowery

    Dictators, Bowery 1976
    Handsome Dick Manitoba of the Dictators with his girlfriend Jody. I took this shot as a thank you for him returning the wallet I’d lost the night before at CBGB's. He doesn’t like that I tell people he returned it with everything in it.

    Once upon a time on the Bowery

    Alex Chilton, Bowery 1977
    We were on the median strip on the Bowery shooting what became a 45 single sleeve for Alex’s “Bangkok.” A drop of rain landed on the camera lens by accident. Definitely a lucky night!

    Once upon a time on the Bowery

    Bowery view, 1977
    The view from across the Bowery in the summer of 1977.

    Once upon a time on the Bowery

    Ramones, 1977 – never before printed
    I loved shooting The Ramones. They would play two sets a night, four nights a week at CBGB's, and I’d be there for all of them. This shot is notable for Johnny playing a Strat, rather than his usual Mosrite. Maybe he’d just broken a string. Love that hair.

    Once upon a time on the Bowery

    Richard Hell, Bowery 1977 – never before printed
    Richard exiting CBGB's with his guitar at 4am, about to step into a Bowery rainstorm. I’ve always printed the shots of him in the rain, but this one is a real standout to me now.

    Once upon a time on the Bowery

    Patti Smith + Ronnie Spector, 1979
    May 24th – Bob Dylan Birthday show – Patti “invited” everyone at that night’s Palladium show on 14th Street down to CBGB's to celebrate Bob Dylan’s birthday. Here, Patti and Ronnie are doing “Be My Baby.”

    Once upon a time on the Bowery

    Legs McNeil, 1977
    Legs, ready for his close-up, near the front door of CBGB's.

    Once upon a time on the Bowery

    Suicide, 1977
    Rev and Alan Vega – I thought Alan was going to hit me with that chain. This was the Punk Magazine Benefit show.

    Once upon a time on the Bowery

    Ian Hunter and Fans, outside bathroom
    I always think of “All the Young Dudes” when I look at this shot. These fans had caught Ian Hunter in the CBGB's basement outside the bathrooms, and I just stepped in to record the moment.

    Once upon a time on the Bowery

    Tommy Ramone, 1977
    Only at CBGB's could I have gotten this shot of Tommy Ramone seen through Johnny Ramones legs.

    Once upon a time on the Bowery

    Bowery 4am, 1977
    End of the night garbage run. Time to go home.

  • Recent Slide Shows



Comment Preview

Your name will appear as username ( settings | log out )

You may use these HTML tags and attributes: <a href=""> <b> <em> <strong> <i> <blockquote>