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'Blood Meridian': The First In Our Infrequent Series Of Southwest Classics.
By Gregory McNamee
Blood Meridian, by Cormac McCarthy (Vintage Books). Paper,
$12.
FORGET THE SCRATCHY-voiced aw-shucksisms of Andy Devine,
Duke Wayne's solitary steadfastness, Debbie Reynolds' virtuous
warbling at the close of yet another sweet-tempered oater. Put
Wyatt Earp, Buffalo Bill, and Davy Crockett far from your mind.
Dispel even the slightest thought of the Ponderosa and the Big
Valley, of frontier schoolmarms and bashful cowboys. Do not remember
the Alamo.
The American West was not brought into the nation by the clean-living,
brave, square-jawed individualists our movies, schools, and other
myth-making factories portray. No, the West--our West--was created
by scavenging armed gangs whose horses and carts forded the rivers
of blood they spilled.
Such is the history that Cormac McCarthy urges on us in Blood
Meridian, perhaps the greatest of the countless little-known
novels the Southwest has inspired. In its pages William Shakespeare
meets the Wild Bunch, and human savagery finds an epic language
of its own. No one who reads it will ever again watch Gunsmoke
in quite the same way.
The year is 1849, the initial setting eastern Tennessee, where
four of McCarthy's earlier, equally bleak novels--The Outer
Dark, The Orchard Keeper, Suttree and Child
of God--take place. Blood Meridian opens by introducing
us to its narrator, known only as the kid, an abandoned 14-year-old,
a wild child. "He can neither read nor write," McCarthy
instructs, "and in him broods already a taste for mindless
violence." The kid wanders aimlessly to Memphis, then up
the Mississippi to St. Louis and down to New Orleans, mayhem always
in his path. Eventually, having killed more than once, he arrives
in Nacogdoches, Texas, the capital of the newly declared Republic
of Fredonia. There he meets for the first time the sinister Judge
Holden, the Ahab who will take him to the gates of hell.
The kid moves on. In San Antonio, he confronts Manifest Destiny
in the person of one Captain White, who has taken it upon himself
to renew the Mexican War with a ragtag band of filibusters. "We
fought for (possession of Mexico)," says White. "Lost
friends and brothers down there. And then by God if we didn't
give it back. Back to a bunch of barbarians that even the most
biased in their favor will admit have no least notion in God's
earth of honor or justice or the meaning of republican government."
Declaring himself and his scruffy militia to be "instruments
of liberation in a dark and troubled land," this Oliver North
illegally crosses the border to conquer Mexico anew, only to be
dispatched along with his troop by an unimpressed Comanche war
party.
The kid, the very definition of a survivor, lands in a Chihuahua
jail, with Captain White's jarred head for company. He is freed,
however, at the demand of the ever-present Judge Holden, whose
attention nothing escapes. ("What's he a judge of?"
the kid later asks, only to be hushed lest the judge hear him.)
Holden, accompanied by a party of renegades--among them an earless,
branded outlaw named Toadvine, a psychopathic entrepreneur named
Glanton, and an Australian who once hunted aborigines for a living
and has merely transferred his skills to a new arena--is bound
for the state of Sonora, where 14,000 French colonists have recently
arrived. If a foreign flag is to fly over Mexico, the judge declares,
it will be the stars and stripes.
McCarthy's history in all this is thorough and accurate; in many
particulars he simply retells the story of American freebooter
William Walker, who in the late 1840s invaded Sonora and, having
failed there, Nicaragua, only to be executed for his troubles.
The real Glanton, too, ran the Colorado River ferry at Yuma; in
order to consolidate his holdings, he murdered both his partner
and the crew of a competing ferry run by Yuma Indians. The Yumas
in turn killed Glanton and thereafter enjoyed a monopoly on ferry
crossings for another decade.
Judge Holden's apocalyptic band meanders throughout the Southwest
and northern Mexico, destroying everything in their path: Mexicans,
Indians, Anglos, penned goats, dogs, chickens, cacti, forests,
even ancient petroglyphs. They gather scalps, teeth, heads, and
hearts as the receipts of their trade; the kid, the gentlest of
the lot, proudly wears a necklace of human ears, blackened and
shriveled by the desert sun. The judge, the dark heart of Blood
Meridian, pontificates all the while, cheering his companions
onward with a homespun philosophy of doom: "It makes no difference
what men think of war.... War endures. As well ask men what they
think of stone. War was always here. Before man was, war waited
for him. The ultimate trade awaiting its ultimate practitioner.
That is the way it was and will be. That way and not some other
way."
And so the homicidal band, "itinerant degenerates bleeding
westward like some heliotropic plague," slashes and burns
its way across the face of the West, across seas of decaying buffalo
bones and burning pueblos, losing a member here and there, indiscriminately
visiting death and destruction on an already tortured land, reveling
in their unchecked power. In the end, even the bloodthirsty kid
seems to have had enough, and the judge's parting words to him
offer the promise of at least some sort of redemption: "You
alone were mutinous. You alone reserved in your soul some corner
of clemency for the heathen."
Blood Meridian is a dark, cheerless novel that aims to
destroy a few myths--not only the cherished and carefully engineered
icons of our national past, but also any hint whatever of the
fundamental goodness of the human animal. In its pages, lone trees
burn in the Biblical desert of Sonora, ghosts and angels haunt
the dark fringes of the hills, and we are bludgeoned into understanding
that Judge Holden, dancing like a maenad on his tiny feet while
crying to the winds that he will never die, is none other than
the Devil himself.
It's a far cry from the world of Louis L'Amour and John Ford.
Of our contemporary Western fabulists, McCarthy alone exposes
the heart of darkness in our history, summoning it in a language
and manner that are without peer. There is as much nobility in
the pages of Blood Meridian, the Southwestern classic of
our time, as you'll find in a crack house.
But that, he might say, is just the way we savages are.
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