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      Love May Fail

      Matthew Quick 9780062285560

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No Country for Old Men (Vintage International)


No Country for Old Men (Vintage International) Cover





I sent one boy to the gaschamber at Huntsville. One and only one. My arrest and my testimony. I went up there and visited with him two or three times. Three times. The last time was the day of his execution. I didnt have to go but I did. I sure didnt want to. Hed killed a fourteen year old girl and I can tell you right now I never did have no great desire to visit with him let alone go to his execution but I done it. The papers said it was a crime of passion and he told me there wasnt no passion to it. Hed been datin this girl, young as she was. He was nineteen. And he told me that he had been plannin to kill somebody for about as long as he could remember. Said that if they turned him out hed do it again. Said he knew he was goin to hell. Told it to me out of his own mouth. I dont know what to make of that. I surely dont. I thought Id never seen a person like that and it got me to wonderin if maybe he was some new kind. I watched them strap him into the seat and shut the door. He might of looked a bit nervous about it but that was about all. I really believe that he knew he was goin to be in hell in fifteen minutes. I believe that. And Ive thought about that a lot. He was not hard to talk to. Called me Sheriff. But I didnt know what to say to him. What do you say to a man that by his own admission has no soul? Why would you say anything? Ive thought about it a good deal. But he wasnt nothin compared to what was comin down the pike.

They say the eyes are the windows to the soul. I dont know what them eyes was the windows to and I guess Id as soon not know. But there is another view of the world out there and other eyes to see it and thats where this is goin. It has done brought me to a place in my life I would not of thought Id of come to. Somewhere out there is a true and living prophet of destruction and I dont want to confront him. I know hes real. I have seen his work. I walked in front of those eyes once. I wont do it again. I wont push my chips forward and stand up and go out to meet him. It aint just bein older. I wish that it was. I cant say that its even what you are willin to do. Because I always knew that you had to be willin to die to even do this job. That was always true. Not to sound glorious about it or nothin but you do. If you aint theyll know it. Theyll see it in a heartbeat. I think it is more like what you are willin to become. And I think a man would have to put his soul at hazard. And I wont do that. I think now that maybe I never would.

The deputy left Chigurh standing in the corner of the office with his hands cuffed behind him while he sat in the swivelchair and took off his hat and put his feet up and called Lamar on the mobile.

Just walked in the door. Sheriff he had some sort of thing on him like one of them oxygen tanks for emphysema or whatever. Then he had a hose that run down the inside of his sleeve and went to one of them stunguns like they use at the slaughterhouse. Yessir. Well thats what it looks like. You can see it when you get in. Yessir. I got it covered. Yessir.

When he stood up out of the chair he swung the keys off his belt and opened the locked desk drawer to get the keys to the jail. He was slightly bent over when Chigurh squatted and scooted his manacled hands beneath him to the back of his knees. In the same motion he sat and rocked backward and passed the chain under his feet and then stood instantly and effortlessly. If it looked like a thing hed practiced many times it was. He dropped his cuffed hands over the deputys head and leaped into the air and slammed both knees against the back of the deputys neck and hauled back on the chain.

They went to the floor. The deputy was trying to get his hands inside the chain but he could not. Chigurh lay there pulling back on the bracelets with his knees between his arms and his face averted. The deputy was flailing wildly and hed begun to walk sideways over the floor in a circle, kicking over the wastebasket, kicking the chair across the room. He kicked shut the door and he wrapped the throwrug in a wad about them. He was gurgling and bleeding from the mouth. He was strangling on his own blood. Chigurh only hauled the harder. The nickelplated cuffs bit to the bone. The deputys right carotid artery burst and a jet of blood shot across the room and hit the wall and ran down it. The deputys legs slowed and then stopped. He lay jerking. Then he stopped moving altogether. Chigurh lay breathing quietly, holding him. When he got up he took the keys from the deputys belt and released himself and put the deputys revolver in the waistband of his trousers and went into the bathroom.

He ran cold water over his wrists until they stopped bleeding and he tore strips from a handtowel with his teeth and wrapped his wrists and went back into the office. He sat on the desk and fastened the toweling with tape from a dispenser, studying the dead man gaping up from the floor. When he was done he got the deputys wallet out of his pocket and took the money and put it in the pocket of his shirt and dropped the wallet to the floor. Then he picked up his airtank and the stungun and walked out the door and got into the deputys car and started the engine and backed around and pulled out and headed up the road.

On the interstate he picked out a late model Ford sedan with a single driver and turned on the lights and hit the siren briefly. The car pulled onto the shoulder. Chigurh pulled in behind him and shut off the engine and slung the tank across his shoulder and stepped out. The man was watching him in the rearview mirror as he walked up.

Whats the problem, officer? he said.

Sir would you mind stepping out of the vehicle?

The man opened the door and stepped out. Whats this about? he said.

Would you step away from the vehicle please.

The man stepped away from the vehicle. Chigurh could see the doubt come into his eyes at this bloodstained figure before him but it came too late. He placed his hand on the mans head like a faith healer. The pneumatic hiss and click of the plunger sounded like a door closing. The man slid soundlessly to the ground, a round hole in his forehead from which the blood bubbled and ran down into his eyes carrying with it his slowly uncoupling world visible to see. Chigurh wiped his hand with his handkerchief. I just didnt want you to get blood on the car, he said.

Moss sat with the heels of his boots dug into the volcanic gravel of the ridge and glassed the desert below him with a pair of twelve power german binoculars. His hat pushed back on his head. Elbows propped on his knees. The rifle strapped over his shoulder with a harnessleather sling was a heavybarreled .270 on a 98 Mauser action with a laminated stock of maple and walnut. It carried a Unertl telescopic sight of the same power as the binoculars. The antelope were a little under a mile away. The sun was up less than an hour and the shadow of the ridge and the datilla and the rocks fell far out across the floodplain below him. Somewhere out there was the shadow of Moss himself. He lowered the binoculars and sat studying the land. Far to the south the raw mountains of Mexico. The breaks of the river. To the west the baked terracotta terrain of the run- ning borderlands. He spat dryly and wiped his mouth on the shoulder of his cotton workshirt.

The rifle would shoot half minute of angle groups. Five inch groups at one thousand yards. The spot hed picked to shoot from lay just below a long talus of lava scree and it would put him well within that distance. Except that it would take the better part of an hour to get there and the antelope were grazing away from him. The best he could say about any of it was that there was no wind.

When he got to the foot of the talus he raised himself slowly and looked for the antelope. Theyd not moved far from where he last saw them but the shot was still a good seven hundred yards. He studied the animals through the binoculars. In the compressed air motes and heat distortion. A low haze of shimmering dust and pollen. There was no other cover and there wasnt going to be any other shot.

He wallowed down in the scree and pulled off one boot and laid it over the rocks and lowered the forearm of the rifle down into the leather and pushed off the safety with his thumb and sighted through the scope.

They stood with their heads up, all of them, looking at him.

Damn, he whispered. The sun was behind him so they couldnt very well have seen light reflect off the glass of the scope. They had just flat seen him.

The rifle had a Canjar trigger set to nine ounces and he pulled the rifle and the boot toward him with great care and sighted again and jacked the crosshairs slightly up the back of the animal standing most broadly to him. He knew the exact drop of the bullet in hundred yard increments. It was the distance that was uncertain. He laid his finger in the curve of the trigger. The boars tooth he wore on a gold chain spooled onto the rocks inside his elbow.

From the Hardcover edition.

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scottharrison, April 1, 2014 (view all comments by scottharrison)
No Country for Old Men
No Country for Old Men is set in the dusty plateaus of west Texas, where the main protagonist Llewellyn Moss happens upon a Mexican Drug deal gone wrong. He finds a brief case with northward of two million inside and makes the rash decision to take the money. Then the inherently moral Ed Tom Bell and psychopathic killer Anton Chigurh struggle to determine the fate of Llewellyn. McCarthy shapes this struggle with his blunt writing style and pessimistic tone, all the while illustrating that no matter how hard we try, evil will always exist in society.
This novel is set sometime in the late 1970’s or early 1980’s, the date is not specifically mentioned, but it can be inferred by the setting. McCarthy describes the landscape in detail “to the west the baked terracotta terrain of the running borderlands.” However, he does not describe the urban environments in much detail. This gives the reader the perception that the time period is much earlier than is really is.
McCarthy utilizes a very blunt but effective writing style throughout this novel. Scenes that other authors pour details and emotion into, McCarthy would approach with a simplistic style. For example “He looked at Chigurh. He looked at the new day paling all about. Chigurh shot him through the head and then stood watching.” This line exemplifies with graphic detail how blunt McCarthy can be. The novel is also set up in a unique structural manner. There are thirteen chapters, but before each chapter there is a preface by Ed Tom Bell. Generally this preface sheds light on some aspect of Bell’s life that he regrets or provides a glimpse at the reasons Bell feels society is failing. For example “Once you quit hearing ‘sir’ and ‘ma’am’, the rest is soon to follow.”(302), this is a good representation of the pessimistic tone present throughout the novel.
The plot of No Country for Old Men is fairly straight forward. Llewellyn Moss, an ex-Vietnam sniper, stumbles upon a Mexican Drug deal, while hunting antelope on the plateaus of west Texas. Everybody is dead or near death; Llewellyn finds the last man standing holed up underneath a tree about a mile away. The man was shot through the side and had long since been dead, with him a briefcase with around two million inside, “there was a heavy leather document case standing upright alongside the dead man’s knee and Moss absolutely knew what was in the case and he was scared in a way he didn't even understand.”(17). What Moss didn't understand was that his next decision was the deciding factor in his life. The rest of the plot plays through Moss’s choice to take the money. He is ruthlessly hunted by both the cartel and Chigurh. Moss severely underestimates the people after him and pays for it dearly.
McCarthy had two main goals in mind when writing this novel; the first is that although times have changed, the west is still the west. Violence and illegal activity will always be ingrained in the culture. The second is that as hard as people might try, true evil will exist as long as humanity does. In some ways these two ideas are similar, but they can be looked at differently. The “Old West” is characterized by gunfights, gold mining and adventure. People in our time look back on the “Old West” with nostalgia, however, the reality is that people in that time did not feel the same way we do. It’s likely they felt their lives were hard and dangerous. Our modern west is really not that different. Gold mining has been replaced by drug trafficking and gunfights with murder. In one hundred years people will probably look back on our west with the same nostalgia we have now. McCarthy hammers this idea home in all respects with this novel; there are drug deals, murders and even the rare modern day gunfight. All the while Moss is on the adventure of a life time akin to the outlaws of the past. The second main point is addressed solely by the character of Anton Chigurh. He’s as cold a psychopathic killer as literature has seen and in this novel seemingly invincible. Chigurh is shot multiple times and hit by a car but miraculously survives. The reader wants him to die and fail in his quest during the entire novel, but he never does. He represents the way that evil can never truly be destroyed. You can lock up as many criminals as possible, but new ones will rise to take their place. This main idea along with Bell’s prefaces develops the pessimistic tone of the novel. Chigurh is the very definition of death and destruction, so whenever he’s present there’s a feeling of despair. This coupled with the overly negative connotation of all Bell’s prefaces forms the pessimistic tone.
Cormac McCarthy’s No Country for Old Men is a modern day twist on the traditional western novel. It covers some of the major problems with society today, such as drug use and violence. The novel teaches valuable lessons on the existence of violence in American culture. Overall this book can have a powerful effect on any reader, but is not for the faint of heart.
Scott Harrison
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Product Details

McCarthy, Cormac
Vintage Books USA
Drug traffic
Psychological fiction
Suspense fiction
Literature-A to Z
fiction;crime;texas;novel;western;drugs;thriller;american;violence;murder;literature;usa;mexico;21st century;suspense;american literature;movie;mystery;mccarthy;american fiction;crime fiction;20th century;contemporary fiction;money;2000s;drug traffic;amer
fiction;crime;texas;novel;western;drugs;thriller;american;violence;murder;literature;usa;mexico;21st century;suspense;american literature;movie;mystery;mccarthy;american fiction;crime fiction;20th century;contemporary fiction;money;2000s;drug traffic;amer
fiction;crime;texas;novel;western;drugs;thriller;american;violence;murder;literature;usa;mexico;21st century;suspense;american literature;movie;mystery;mccarthy;american fiction;crime fiction;20th century;contemporary fiction;money;2000s;drug traffic;amer
Edition Description:
Trade paper
Vintage International
Publication Date:
Grade Level:
8.03x5.18x.69 in. .52 lbs.

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No Country for Old Men (Vintage International) Used Trade Paper
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Product details 320 pages Vintage Books USA - English 9780307387134 Reviews:
"Staff Pick" by ,

No Country for Old Men includes both familiar and uncharted territory for Cormac McCarthy. His prose is lean and cadenced, but his formidable characters and intricate plot are as rich as ever. This is a novel of uncompromising beauty and power -- one of McCarthy's finest.

"Staff Pick" by ,

No Country for Old Men includes both familiar and uncharted territory for Cormac McCarthy. His prose is lean and cadenced, but his formidable characters and intricate plot are as rich as ever. This is a novel of uncompromising beauty and power -- one of McCarthy's finest.

"Staff Pick" by ,

This may not be Cormac McCarthy's best book, or even one of the best books of the year (in fact, its construction is a bit incoherent), yet I remain a sucker for the peculiar blend of melancholy and savagery that permeates all of McCarthy's work. Frightening, depressing, bleak: don't miss it.

"Publishers Weekly Review" by , "Seven years after Cities of the Plain brought his acclaimed Border Trilogy to a close, McCarthy returns with a mesmerizing modern-day western. In 1980 southwest Texas, Llewelyn Moss, hunting antelope near the Rio Grande, stumbles across several dead men, a bunch of heroin and $2.4 million in cash. The bulk of the novel is a gripping man-on-the-run sequence relayed in terse, masterful prose as Moss, who's taken the money, tries to evade Wells, an ex-Special Forces agent employed by a powerful cartel, and Chigurh, an icy psychopathic murderer armed with a cattle gun and a dangerous philosophy of justice. Also concerned about Moss's whereabouts is Sheriff Bell, an aging lawman struggling with his sense that there's a new breed of man (embodied in Chigurh) whose destructive power he simply cannot match. In a series of thoughtful first-person passages interspersed throughout, Sheriff Bell laments the changing world, wrestles with an uncomfortable memory from his service in WWII and — a soft ray of light in a book so steeped in bloodshed — rejoices in the great good fortune of his marriage. While the action of the novel thrills, it's the sensitivity and wisdom of Sheriff Bell that makes the book a profound meditation on the battle between good and evil and the roles choice and chance play in the shaping of a life. Agent, Amanda Urban. (July)" Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.)
"Review A Day" by , "[A] taut thriller that not only holds, but also rewards, close attention....'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." (read the entire Salon.com review)
"Review" by , "Shades of Dostoyevsky, Hemingway, and Faulkner resonate in McCarthy's blend of lyrical narrative, staccato dialogue, and action-packed scenes splattered with bullets and blood."
"Review" by , "In his latest novel, McCarthy stumbles headlong into self-parody....McCarthy lays out his rancorous worldview with all the nuance and subtlety of conservative talk radio....A made-for-television melodrama filled with guns and muscle cars..."
"Review" by , "[A]n entertaining novel from one of our best writers. Often seen as a fabulist and an engineer of dark morality tales, McCarthy is first a storyteller."
"Review" by , "No Country for Old Men would easily translate to the big screen so long as Bell's tedious, long-winded monologues were left on the cutting room floor — a move that would also have made this a considerably more persuasive novel."
"Review" by , "With his stripped-down Marlboro Man prose, Cormac McCarthy knows how to write a bang-up Western thriller. But when he strives for grand mythic effect in the second half...his taut, suspenseful story quickly heads south. (Grade: B)"
"Review" by , "Mr. McCarthy is smart to keep this book short and swift. After all, one can only sit through so many...speeches before retreating into numbness. But the question remains: Should a McCarthy novel be this easy to read?"
"Review" by , "Mr. McCarthy's story is so exquisitely harrowing that the reader can forget to breathe. But it's Sheriff Bell's private meditations interspersed between the chapters that give it its heft and soul."
"Review" by , "You will not be able to put it down — the storytelling is thrilling and terrifying. But you will come away from the reading experience with something more than Grisham or Crichton or any other genre writer can provide — a look into the darkest places of the human heart."
"Review" by , "[N]asty fun...a darting movie-ready narrative that rips along like hell on wheels....Such sinister high hokum might be ridiculous if McCarthy didn't keep it moving faster than the reader can pause to think about it."
"Review" by , "Of course two-thirds of a great book is more than we'll ever expect of most writers, but with McCarthy we've learned to set the bar higher, and by that standard No Country for Old Men, while riveting for much of its length, in the end falls short."
"Review" by , "The pace is deliberately grim and airless — the book has little of the space and quiet that resonated beneath All the Pretty Horses and The Crossing. As a result, the murders are numbing rather than moving..."
"Review" by , "While No Country for Old Men surely will be welcomed as a worthy addition to border literature, it can't compete with the vast claim previous McCarthy novels have staked in that rapidly expanding territory."
"Review" by , "No plot summary will do this novel justice. There is plenty of action. Readers may need a flow chart to keep track, but the mystery is more than enough to keep any reader panting. Some of the spare, swift dialog is profound and some is wonderfully comic."
"Review" by , "[A] heated story that brands the reader's mind as if seared by a knife heated upon campfire flames. [McCarthy] is nothing less than our greatest living writer, and this is a novel that must be read and remembered..."
"Review" by , "Despite McCarthy's trademark laconic, well-tuned style, the novel reads much like any number of crime thrillers now on the market....What's missing are the depth and nuances of emotion found in McCarthy's trilogy, particularly All The Pretty Horses."
"Synopsis" by , In No Country for Old Men, Cormac McCarthy simultaneously strips down the American crime novel and broadens its concerns to encompass themes as ancient as the Bible and as bloodily contemporary as this mornings headlines.
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