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"One world that will never be...the world they dream of.",
This review is from: Cities of the Plain (Border Trilogy) (Hardcover)
This final novel in Cormac McCarthy's Border Trilogy of the southwest brings together the themes McCarthy has developed throughout the trilogy. In the first novel, All the Pretty Horses, McCarthy stresses the romanticism of John Grady Cole, who runs away to become a cowboy, suffers a heart-breaking loss at love, and returns, sadder and perhaps wiser, to find solace in the solitude of his work on the plains.
Times are changing as the 20th century progresses, however, and the independent life of ranchers is threatened. In The Crossing, a far darker novel which takes place a few years later, Billy Parham, another young man, takes off with his brother, crossing the border into Mexico, to explore its older traditions and ways of life. Cities of the Plain, with Biblical suggestions in the title, brings young John Grady Cole and the older Billy Parham together, as they work on the McGovern ranch in Texas in the 1950s. The wilderness is disappearing, cities are encroaching, and an army base may take their land.
Focusing less on the harshness of ranch life than in past novels, McCarthy here concentrates more on character, in this case, that of John Grady Cole, who falls in love with a prostitute from Juarez and wants to bring her across the border to his way of life. Billy Parham counsels him against marrying her, but John Grady is determined to wrest her away from Eduardo, her manager, and give her the peace that she has never known. Life is harsh, however, and outcomes are bleak for dreamers and altruists. John Grady soon finds himself engaged in a struggle with Eduardo which is vicious and unrelenting, a metaphorical struggle between honor and evil, and between civilized values and the "justice" of tooth and claw, hope and desperation, and acceptance of change and adherence to the past.
McCarthy's gorgeous descriptions of this vanishing way of life on the ranch are as effective here as they are in the other novels in the trilogy, though they seem to be presented nostalgically. Times are changing, and the "old man," the ranch owner, is now becoming senile. Civilization is drawing closer, and John Grady, the cowboy, uses taxis instead of horses when he is in a hurry to travel. As McCarthy draws the reader into John Grady's story, the reader knows that the struggle between him and Eduardo is a mythic struggle, and s/he also knows what the likely outcome will be. The elegance with which the ending is drawn, however, gives both potency and poignancy to McCarthy's message. Mary Whipple