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No Country for Old Men (Random House Large Print) Hardcover – Large Print, 19 July 2005
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One day, a good old boy named Llewellyn Moss finds a pickup truck surrounded by a bodyguard of dead men. A load of heroin and two million dollars in cash are still in the back. When Moss takes the money, he sets off a chain reaction of catastrophic violence that not even the law–in the person of aging, disillusioned Sheriff Bell–can contain.
As Moss tries to evade his pursuers–in particular a mysterious mastermind who flips coins for human lives–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 morning’s headlines.
No Country for Old Men is a triumph.
From the Trade Paperback edition.
- Print length423 pages
- LanguageEnglish
- PublisherRandom House Large Print
- Publication date19 July 2005
- Dimensions15.04 x 2.87 x 21.87 cm
- ISBN-100375435042
- ISBN-13978-0375435041
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Product description
About the Author
www.cormacmccarthy.com
From the Paperback edition.
Excerpt. © Reprinted by permission. All rights reserved.
No Country for Old Men
By Cormac McCarthyRandom House Large Print Publishing
Copyright © 2005 Cormac McCarthyAll right reserved.
ISBN: 9780375435041
Chapter One
I
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. He’d 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. He’d 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 he’d 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 I’d 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 I’ve 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? I’ve 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 I’d as soon not know. But there is another view of the world out there and other eyes to see it and that’s where this is goin. It has done brought me to a place in my life I would not of thought I’d of come to. Somewhere out there is a true and living prophet of destruction and I dont want to confront him. I know he’s 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 it’s 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 they’ll know it. They’ll 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 that’s 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 he’d practiced many times it was. He dropped his cuffed hands over the deputy’s head and leaped into the air and slammed both knees against the back of the deputy’s 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 he’d 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 deputy’s right carotid artery burst and a jet of blood shot across the room and hit the wall and ran down it. The deputy’s 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 deputy’s belt and released himself and put the deputy’s 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 deputy’s 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 deputy’s 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.
What’s the problem, officer? he said.
Sir would you mind stepping out of the vehicle?
The man opened the door and stepped out. What’s 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 man’s 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 he’d 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. They’d 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 boar’s tooth he wore on a gold chain spooled onto the rocks inside his elbow.
Continues...
Excerpted from No Country for Old Menby Cormac McCarthy Copyright © 2005 by Cormac McCarthy. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Product details
- Publisher : Random House Large Print; Large type / Large print edition (19 July 2005)
- Language : English
- Hardcover : 423 pages
- ISBN-10 : 0375435042
- ISBN-13 : 978-0375435041
- Dimensions : 15.04 x 2.87 x 21.87 cm
- Best Sellers Rank: 1,151,912 in Books (See Top 100 in Books)
- 24,222 in Crime, Thriller & Mystery Adventures
- 48,566 in Adventure Stories & Action
- 102,452 in Thrillers (Books)
- Customer reviews:
About the author

Cormac McCarthy was born in Rhode Island. He later went to Chicago, where he worked as an auto mechanic while writing his first novel, The Orchard Keeper. The Orchard Keeper was published by Random House in 1965; McCarthy's editor there was Albert Erskine, William Faulkner's long-time editor. Before publication, McCarthy received a travelling fellowship from the American Academy of Arts and Letters, which he used to travel to Ireland. In 1966 he also received the Rockefeller Foundation Grant, with which he continued to tour Europe, settling on the island of Ibiza. Here, McCarthy completed revisions of his next novel, Outer Dark. In 1967, McCarthy returned to the United States, moving to Tennessee. Outer Dark was published in 1968, and McCarthy received the Guggenheim Fellowship for Creative Writing in 1969. His next novel, Child of God, was published in 1973. From 1974 to 1975, McCarthy worked on the screenplay for a PBS film called The Gardener's Son, which premiered in 1977. A revised version of the screenplay was later published by Ecco Press. In the late 1970s, McCarthy moved to Texas, and in 1979 published his fourth novel, Suttree, a book that had occupied his writing life on and off for twenty years. He received a MacArthur Fellowship in 1981, and published his fifth novel, Blood Meridian, in 1985. All the Pretty Horses, the first volume of The Border Trilogy, was published in 1992. It won both the National Book Award and the National Book Critics Circle Award and was later turned into a feature film. The Stonemason, a play that McCarthy had written in the mid-1970s and subsequently revised, was published by Ecco Press in 1994. Soon thereafter, the second volume of The Border Trilogy, The Crossing, was published with the third volume, Cities of the Plain, following in 1998. McCarthy's next novel, No Country for Old Men, was published in 2005. This was followed in 2006 by a novel in dramatic form, The Sunset Limited, originally performed by Steppenwolf Theatre Company of Chicago. McCarthy's most recent novel, The Road, was published in 2006 and won the Pulitzer Prize.
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Cormac McCarthy's No Country for Old Men is a neo-western thriller that's a completely engrossing read. Moss' flight from his pursuers is really exciting because McCarthy writes Moss as a competent and intelligent man able to evade his pursuers and remain one step ahead. But his main antagonist, the brutal Chigurh, is extremely adept at picking up the trail and relentlessly keeps after Moss. Both characters make No Country an enormously enthralling story to follow.
Chigurh's character is by far the standout of the book. A quietly vicious killer who's deeply intense and driven in a way that makes him appear more like a force of nature than a man, McCarthy has created a character for the ages with Chigurh on par with Thomas Harris' Hannibal Lector. Chigurh stole every scene he appeared in from when we first meet him in police custody, murdering his way to freedom, to the final chilling scene. Every interaction he has with any character is immediately tense as we as readers never know when he'll decide to kill - he flips coins to make the choice for him - and the air pistol he uses to silently murder his victims was an inspired choice showing his contempt for his fellow man, viewing them as the cattle the gun was originally designed to kill.
Sheriff Bell is the character I would say I was the most conflicted about because I both liked and disliked him for the same reason. Bell is the most cliched character in the cast - an old cop on the verge of retirement - but McCarthy writes his voice beautifully. The book is structured so that Bell will monologue for a page or two in italics before the chapter reverts back to an omniscient, unintrusive narrator. Bell's monologues typically run along two topics for the entirety of the book: 1) the world today isn't like the world he knew growing up - it's a darker, more violent world, and 2) he sure does love his wife Loretta and boy is he lucky to have met her.
The monologues become repetitive after a while but serve to break up and work effectively as a contrast to the action. And while what Bell says sounds wise in a down-home kinda way, they're not really: the world is full of violent people? Is that a revelation to anyone? And all that stuff about his wife is corny as hell. However the way he says it is written with such an evocative sing-song quality that sounds genuinely heartfelt and lyrical, I honestly didn't mind reading it. Given the number of awards McCarthy's won, it's a moot point to say he has a knack for choosing the right words, but he really does and these often mask rather insubstantial material or gussie it up to seem cleverer than it is.
And here's the thing about No Country: even though it's written by a critically acclaimed writer who's won the Pulitzer, this is not an intellectual book - but it is intelligently written. It's not profound, it's not overly complex, it doesn't even have anything much to say: it's simply a genre novel but it's a really well written genre novel. It's refreshingly straightforward and accessible from a writer who might be more concerned with literary complexity to the detriment of plot, given his reputation as a literary writer. Thankfully that's not the case and his direct approach is a brilliant choice as it suits the characters and story perfectly. It might seem more literary because McCarthy eschews quotation marks for dialogue - hell, he doesn't even tell you which character is speaking! - but it's a thriller nonetheless albeit of a higher quality than the usual thriller fare.
This style means that the novel shoots along at an incredible pace, the reader drawn into this lethal chase and the pages flying by as a result. It helps that the dialogue is written in a stripped down, almost screenplay-like manner and it's interesting that McCarthy these days has taken to writing only screenplays over novels - No Country is indicative of the direction he'd take as a writer in the years after it was published.
The only real problem I had with the story was the way a major character is dealt with towards the end. They're killed off-page and in such a tossed-off way that I had to go back and re-read the last appearance of that character to see if I'd missed a detail - nope. It's daring to so abruptly kill off a major player and resolve the main story in such a sudden manner that could go either way for the reader but for me, while I appreciated the uniquely different way to conclude the story, I was definitely unsatisfied with how events played out.
No Country for Old Men is an extremely violent but compulsively readable neo-western that's genuinely thrilling and features one of the great modern literary villains in Anton Chigurh. It's a classy pulp novel that tells its story well making it a very enjoyable read despite its rather bleak outlook.
This excellent novel sits in the comparatively short section of McCarthy's works, (unusually) has several clearly defined sub-plots and will be far more 'accessible' to most as whilst it has the core identifiable characteristics of McCarthy's writing style, it largely omits the use of lengthy sections of foreign language and unpunctuated sentences for which he is 'better known' in earlier works.
I read this book after seeing the fantastic film 'version' (and I use that term entirely intentionally) and was struck with how markedly the tone of each differed - there is a huge opportunity to be 'distracted' by the compelling action which occurs in the story (and which, necessarily, drives the film presentation) and hence miss what I believe is the true plot behind McCarthy's prose.
This difference is perfectly demonstrated when you read the (intentionally vague) story introduction printed on the back of the book and quoted in the Amazon description, repeated below :
"Llewelyn Moss, hunting antelope near the Rio Grande, stumbles upon a transaction gone horribly wrong. Finding bullet-ridden bodies, several kilos of heroin, and a caseload of cash, he faces a choice - leave the scene as he found it, or cut the money and run. Choosing the latter, he knows, will change everything. And so begins a terrifying chain of events, in which each participant seems determined to answer the question that one asks another: how does a man decide in what order to abandon his life ?"
It emphasises my point since it omits any mention of who I believe are the true main characters of this tale : the 'hitman' (Anton Chigurh) and Sheriff (Tom Bell) 'pursuers', with the latter being the less colourful but actually more 'dominant' of the two; this story nevertheless does have 3 important threads....
And I think my point is proven since we are first presented with some musings of an as yet unknown character, THEN introduced to the soon-to-be pursuer Chigurh - as he deals with the aftermath of his handiwork which then get Moss involved (so it is he that is actually introduced last of the 3).
So, those first few pages already show us perfectly how things are on different levels, since the book is partly written in firsthand, italicised, chapters to give us the thoughts of Sheriff Bell (who is that initially unknown character) but also/predominantly in thirdhand, as events are described to us and we are let into the minds of Moss and the eventual pursuer (a VERY unpleasant place to go !); but crucially the thoughts of Moss are stated to us, whereas we can only learn about whatever thoughts the enigmatic/ruthless/weird pursuer might have through his verbal exchanges with others.....
This story is clearly actually about the Sheriff, with the hugely dominant plot being something of a MacGuffin - the weighty sections of the book are given over to Bell airing his thoughts to us.
So, I believe that this work has to be considered in terms of both 'what happens' (emphasised in the film) AND 'what is it about' (emphasised in the book), as the answers to those 2 questions are quite different.
Both are hugely compelling and, largely, attractive considerations as much of what occurs is so gripping and the 3 main personalities so incredibly intriguing. You will try and sympathise/understand the Sheriff, root for Moss and (certainly in my case) be completely, totally and utterly captivated by the chilling nature of the odious Chigurh as each follows their path through that 'MacGuffin' series of events.
It is easy to see why the Coens snapped-up the opportunity to adapt this literary masterpiece for the screen. The contrast in presentation 'emphasis' is understandable, since the film would be rather droll for many if it contained ALL the musings of Sheriff Bell which feature so prominently in the book.
The reason I have included so many references to the film is not just that I don't want to reveal too much about this superb overall story written by McCarthy to spoil things for you. It's also because if you enjoy this book as much as I did, and are similarly captivated by some of the most intriguing characters you will ever read about, then experiencing them in the superb film portrayals will enhance your experience all the more.






