Goodreads | No Country for Old Men

topics	replies	last activity
book vs movie	17	03/12/2008 08:18AM
does the book explain things any better than the movie	9	12 days ago, 12:01PM
This book almost makes me sorry that I ever learned to read.	29	7 days ago, 10:49AM

Taylor rated it:

03/03/08

bookshelves: desert-island-picks, favorites, fiction, own

Read in March, 2008

Right off the bat I have to say this is a book that I'm not so sure I can do enough justice to in my review. There are so many themes and subtleties here (this is another book as much about what isn't said/done as what is), and I'm not sure that I've entirely digested all of them. A lot of the "professional" reviews tie some of the themes to the Bible, and having little knowledge of the Bible, there's a chance I'm missing out on some things. That said, even without that knowledge, this...more

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Adam rated it:

12/12/07

"You can't go to war without G-d." So says Cormac McCarthy. The concept that G-d has a vested interest in war is as ancient as war itself. Fore did G-d not say to the Israelites as they prepared to enter Canaan: "My terror I send before thee, and I have put to death all the people among whom thou comest, and I have given the neck of all thine enemies unto thee. (EX 23:27)." It is not only in Judaism that a deity steps to the plate in the eternal struggle between men. In ...more "You can't go to war without G-d." So says Cormac McCarthy. The concept that G-d has a vested interest in war is as ancient as war itself. Fore did G-d not say to the Israelites as they prepared to enter Canaan: "My terror I send before thee, and I have put to death all the people among whom thou comest, and I have given the neck of all thine enemies unto thee. (EX 23:27)." It is not only in Judaism that a deity steps to the plate in the eternal struggle between men. In the Greek classic "The Iliad" Athena, Ares, and Aphrodite play as prominent (if not more so) a role in deciding the battle's fate as Odysseus, Hector, Achilles, or a large wooden horse. It is not news that before facing the uncertainty, which lies latent in war, man looks to find an ally in G-d.

However, what if G-d does not take a hand in war? How does one go into battle w/o a principle and fundamental faith? A very good and pertinent question-especially with the mindset behind our current military involvement. When man looks at his destiny outside of what G-d’s providence has determined for him, a very strange and scary existence takes shape. While I have no doubt many a soldier has pondered over this, it was Napoleon Bonaparte (emerging from the Enlightenment, where fundamental theological beliefs were called into question) who succinctly summarized this concept: "God is on the side with the most artillery." Thus implying that, indeed, we form our destiny. We create the reality of our lives. This is a terrifying concept for the soldier venturing into the chaotic expanse of the battlefield. Fore, if the buck stops with me, maybe the bullet will too.

But, it is not just in the midst battle where one feels lost without a Divine Providence. The struggle of everyday’s existence can be combat in itself. As the Russian playwright Chekhov says: “Any idiot can face a crisis - it's day to day living that wears you out.” The choices we may make on a day to day basis carry a significant weight when they alone form our tomorrow. It is this notion that McCarthy drives across in this saga of how life’s yesterdays yields to make today. Chance does not bring you to the bed of a cheap motel where you stare at a neon illuminated ceiling. Nor does bad luck put you at the working end of a silenced .22. It is the choices you make that chisel your sculpture of reality from the blankness of the broad, granite world. When one looks with an incisive eye, the destiny of decisions can be made clear. However, an insightful eye is rare. For this reason McCarthy employs Carla Jean’s grandmother in the archetypal role of the old (often sick and/or crazy) soothsayer (it is not by chance she is referred to as an “old woman” on p. 202 when she makes the inference that she deserves no credit for predicting the course Moss and Carla Jean’s relationship would take-the course of events where clear as day).

Many are unwilling to accept the notion that G-d is not laying a path for us; as is the case for the retired Sheriff Deputy Ellis. He waits his entire life for the arrival of G-d. He never comes. When the reader meets Ellis he is old, sick, and alone. Maybe this is the existence that waits those who spend their life waiting for a destiny, rather than creating one.

Ultimately, this novel weaves a tale of masculine brawniness in a world where destiny is created-not found. It is a harsh and cold world where scruples of sensitivity have no place. It is a border town world, where life bends only in the direction we are willing, and able to take it.
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Annalisa rated it:

03/27/08

Read in April, 2008

recommended to Annalisa by: Ryan
recommends it for: guys

This is definitely a man's book, loaded with violence and male tendency toward underexplaining vs female overanalyzing. The first half I thought there must be nothing gained from the book over the movie (I haven't seen it) because it read like a movie script describing one violent murder after the next without any insight into characters' motives, emotions, intentions, all the reasons a book is better.
But near the end of the book, you realize that this is not Moss' story, but sheriff Bell's. ...more This is definitely a man's book, loaded with violence and male tendency toward underexplaining vs female overanalyzing. The first half I thought there must be nothing gained from the book over the movie (I haven't seen it) because it read like a movie script describing one violent murder after the next without any insight into characters' motives, emotions, intentions, all the reasons a book is better.
But near the end of the book, you realize that this is not Moss' story, but sheriff Bell's. You are getting pieces of his mind. It's not about a lack of old men because they're all getting killed off young, but a country where old men are left holding values of the past and wondering what has happened to society.
The story is about a young man (Moss) who stumbles on a drug exchange gone array and takes the millions from the carnage. He soon becomes the hunted from hit men (Chigurh the main one) out to recover the money and one step behind it all is sheriff Bell about to retire who has never had an unsolved homicide and needs to world to make sense and be good.
There are plenty of statements about right and wrong and the fine line between the two. You take sheriff Bell who is the standard for good, but he is doing good to live up to his dad, to make up for a war failure, but it brings him no joy because it's just retribution. And the one moment when he could redeem his youth, he fails into the same pattern when he hides and waits for backup.
Then you take Chigurh the villainous assassin who will kill someone just because they inconvenienced him. Then you learn the twisted scruples his psychopathic mind created to justify himself. Of all the characters he seems to have the most integrity although you want to kill him yourself for it. He sees himself as a symbol for death that has no sense of right or wrong, just fate that cannot change course, you see how the other characters deal with him in your classic steps of death. Of all the characters he was the most interesting to read.
And finally you have Moss who is a good guy who made a dumb mistake, or lots of them. Where does he fit in the good and bad when he lets greed overcome his consideration for his wife? It was well into the book before I could decided whether I liked him or not because he seemed so undecided himself.
I liked the lack of a fairy tale ending and the surprises. What I didn't like was the style. Not the loose grammatical style that added character to the book, but the lack of description. Sometimes I got lost. What character am I reading here? Who did what? What are they talking about? The condensed dialogue seemed to wander into nowhere at times and then snap into insightful without a transition.
I would have liked to understand more about what happened in the motel with the hitchhiker, but all we get are police reports not who came or how or even why. I could have been as random as the car accident. But I guess the senselessness is the whole point of the story. I felt the end dragged a little. Quick to the point of being snipped and then we have page after of page of sheriff Bell's mind wandering, unexplained sometimes hard to follow wanderings. The end didn't match the rest of the book.
The writing and the story aren't amazing, but once the flavor of the book fades and you are left considering and wondering, the book grows on you. ...less

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Peter rated it:

12/10/07

bookshelves: novel

Read in March, 2007

I still think, “Blood Meridian,” has been his best book--probably by far-- and I would have to agree with those who find the present volume a small story by comparison to some of the other books Cormac McCarthy as written. But I take exception to the idea that the book is some kind of cheap thriller. It's a serious effort to say something by one of America's very few good writers. And I don’t mean that there is not a horde of trained American writers out there producing well-crafted senten...more I still think, “Blood Meridian,” has been his best book--probably by far-- and I would have to agree with those who find the present volume a small story by comparison to some of the other books Cormac McCarthy as written. But I take exception to the idea that the book is some kind of cheap thriller. It's a serious effort to say something by one of America's very few good writers. And I don’t mean that there is not a horde of trained American writers out there producing well-crafted sentences. I am saying McCarthy has something to say that cannot be said in a sentence—what he is trying to do needs a novel to get done.

In “No Country for …” McCarthy continues to obsess over the nature of consequence. He seems to be essentially a pagan intent on honoring more virile gods than simply nodding in respect to the washed out idolatry that has faded the never very bright American version of Christianity. All of this seems very explicit in the last paragraph of "The Road."

What I like about McCarthy is he is not simply celebrating the virtues of selfhood the way the rest of the empire seems to be. Somehow American letters has become obsessed with not so much the condition, but the importance of the psychological self in ways I find not only tedious, but almost evil. Character, which is inseparable from personality these days, gets held up as if it mattered. In McCarthy's work, character is incidental. The rain and the sun fall upon both the wicked and the just and we are sent back to ponder the origin of the west.

However, I find McCarthy darkness a bit overblown--particularly in the Trilogy. He seems to evoke darkness in ways he is unable to sustain. Bleakness is only a mood. But I always enjoy reading him.

In his “No Country for …,” I am particularly interested in a facet of the story that is probably not very important, and not terrible developed. I am interested in how Chigurh manages to corrupt Llewellyn’s marriage to Carla Jean. It happens though lies and rumor. Only Bell seems to notice and at least tries to do something. He tells Carla Jean that he does not believe Llewellyn had been cheating on her with the hitchhiker discovered in his hotel room. Of course her doubt is a problem for the book and one that is not really worked out. Llewellyn’s marriage is almost heroic in that he and his wife are worthy of one another. They don’t whine. They live hard. They fuck each other for pleasure. Even if she seems weaker than she should be, Llewellyn tells her what is going on and she believes in him. Because they are in love. There is, for instance, no reason on earth why he should give himself up to Chigurh to save his wife. There is no inevitability about his end or hers. He could very well have killed Chigurh and might have had he not been cut down by the Mexicans. But the role of false necessity in all that happens does not find much light in McCarthy. But I am going to think about this a little more before I say much more.

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Steven rated it:

04/02/08

bookshelves: goodmodernfiction

Read in March, 2008

My coworker provided me with a copy of this book and told me that I had to read it. He knew I was a pretty big fan of the movie, though not really a huge fan, and he knew I had mentioned that Cormac McCarthy was being talked about much more often in reference to his body of work. Much like “The Road,” this book took approximately 4 to 5 hours to read and it went by exceptionally quick. Even if I was not familiar with the plot from having seen the movie, I would definitely classify this bo...more My coworker provided me with a copy of this book and told me that I had to read it. He knew I was a pretty big fan of the movie, though not really a huge fan, and he knew I had mentioned that Cormac McCarthy was being talked about much more often in reference to his body of work. Much like “The Road,” this book took approximately 4 to 5 hours to read and it went by exceptionally quick. Even if I was not familiar with the plot from having seen the movie, I would definitely classify this book as a real page turner.

The novel follows roughly the same plot as the book and concerns the activities of three central characters, Llewyn Moss, Anton Chigurh, and Sheriff Ed Tom Bell, as they deal with events caused when Moss happens upon a drug deal gone bad while out hunting and takes a satchel with over $2 million in cash.
Much like in the movie, I was rather unconcerned with the fate of Moss (he does seem a bit smarter in the book than the movie, but it is hard to root for him because at base he simply stole money) or Chigurh (he is a sick and demented sociopathic killer, even though he is the ultimate believer in destiny). For me, the much more interesting characters were Sheriff Bell of Jewel County and Llewyn Moss’ wife, Carla Jean.

Carla Jean was a fascinating character in the book (I thought she was played brilliantly in the movie too) with much more depth than you might imagine. Married at 16, now age 19 when her husband arrives with this satchel of cash, she is a big believer in destiny. She knew she was destined to be with Llewyn, she knew that when she took the job at Wal Mart, but it is ultimately destiny that is her undoing. The body count is pretty high in this book, but for whatever reason, her death was certainly that most difficult for me to reconcile.

More than Chigurh or Moss, though, the book is ultimately about the folksy Sheriff Bell. It is obvious that McCarthy knows folks like this, and without a doubt, just people most certainly do exist. He certainly thinks the world is indeed going to hell in a hand basket. One of my favorite exchanges in the book is when he is conversing with someone who is concerned about the ability for her children to have an abortion and he matter of factly responds that the way the world is going, there should be little doubt that there will be no problem in being able to have an abortion. He knows the danger of drugs and believes that if Satan were thinking of something to bring the human race to its knees, he’d certainly pick narcotics. In a lot of ways, he simply seems like he is a man trying to do his best to make sense of the depravity and violence that is simply everywhere.

Anyway, I thoroughly enjoyed the book. Tremendous depth, haunting images, great use of switching from the first person in Sheriff Bell and the inner monologues of Moss to the third person. Just a tremendous read.

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Trish rated it:

12/01/07

Read in March, 2007

When I tried to read this a while back, I stalled out in the early pages. Those spare sentences about guns and the Western landscape were like inpenetrable koans. This time, I concentrated and caught the rhythm of the fractured story McCarthy tells--a story about drugs, money and, mostly, murder.

Lllewelyn Moss is just hunting for antelope. Instead, he finds dead bodies, a cache of heroin, and $2 million. If he walked away, could he have been saved? Or was his fate sealed by happenstance? Mo...more

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Platoeatssouls rated it:

04/04/08

bookshelves: theboxmarkeddone

Read in April, 2008

recommends it for: people who like it dark

A literary critic (of whom I am not fond) by the name of Harold Bloom referred to Cormac McCarthy as one of the four living (and still working) American novelists who write "the Style of our age", saying they have composed canonical works. So with this ringing in my ears, and the film version still playing through my mind, I decided to read the book.

Cormac McCarthy writes about the west, but not the vaguely-homoerotic wild west that we all know and love. This is West Texas, where ...more A literary critic (of whom I am not fond) by the name of Harold Bloom referred to Cormac McCarthy as one of the four living (and still working) American novelists who write "the Style of our age", saying they have composed canonical works. So with this ringing in my ears, and the film version still playing through my mind, I decided to read the book.

Cormac McCarthy writes about the west, but not the vaguely-homoerotic wild west that we all know and love. This is West Texas, where there's antelope and dust and drugs and a bunch of stuff that's been around forever and not a whole lot else. The men are tough and taciturn; they don't use apostrophes or quotation marks, they're slow to anger and quick to strike once roused. They love their wives with a slow, steady passion. Their wives, on the other hand, are strong, steely women who do well by their menfolk (of course they're called "menfolk".) They may carry weapons, but in the end they're not too important, mostly functioning as reasons for the men to do the things they do.

The book's central thesis (or, I suppose, one of them; books are relatively poor places for straightforward philosophy) is this: you make choices as you go through life. There are rules and other, smaller choices you make which propel you along. And then eventually there's an accounting.

In some ways, it's similar to the "alternative universe" trope beloved by science fiction writers, except here the "what if" part of the universe doesn't matter. Only what happened is actually relevant. People live their lives thinking every day is a fresh start, that they can somehow divorce themselves from their pasts, but in a certain sense the past is the only thing that exists. Your past defines you, just as the past of the country defines what America is today.

This is not, as it happens, a philosophy I particularly buy into. But that's neither here nor there.

What surprises me is how McCarthy drags us through nearly 300 pages looking over the shoulders of Llewellyn Moss, Sheriff Ed Tom Bell, and Anton Chigurh without ever really letting us into their lives. The way he uses and discards them makes it difficult to get attached, and none of them are especially likable (though I'll admit they each of them have their own particular charms). The plot, revolving around a drug deal gone bad and a big case of stolen money, is interesting but never really tied up - it's mostly a MacGuffin to keep the characters on the move, which is disappointing; you'd think that if you spent as long as CM must have writing a book this full of ideas, you'd have taken a few minutes to fix that.

The book was engrossing, true; I spent more than one lunch hour buried within its occasionally agrammatical pages. But though I liked it, I remain unconvinced that McCarthy is as good a writer as Bloom seems to think. The word I'm searching for, I believe, is "overrated". It's much like Bloom himself in that regard....less

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Kenyon rated it:

(review of isbn 0307387135)

12/04/07

Read in November, 2007

recommends it for: all friends

I wrote a review of this for the Sackets Harbor Gazette!
If you think that the western novel genre died with Louis L’Amour. Think again. Cormac McCarthy has been writing them after a fashion for a while with a style all his own and a voice as stark and certain as the plains of Texas he often describes. No Country for Old Men, first published in 2005 and recently brought out in paperback as a movie tie-in, is a story of duty, treachery, loyalty, and evil; of a decision to act made by instinct t...more I wrote a review of this for the Sackets Harbor Gazette!
If you think that the western novel genre died with Louis L’Amour. Think again. Cormac McCarthy has been writing them after a fashion for a while with a style all his own and a voice as stark and certain as the plains of Texas he often describes. No Country for Old Men, first published in 2005 and recently brought out in paperback as a movie tie-in, is a story of duty, treachery, loyalty, and evil; of a decision to act made by instinct the consequences of which cannot be undone, ignored, or escaped especially by the three characters central to the novel’s plot. It’s also a story of our times and other times.

Set 1980 in the vastness of west Texas and its small towns, a Vietnam veteran out on an early morning hunt discovers from a distance, the deadly mayhem of a drug deal that had imploded with greed. This man, Moss, makes a decision that will set him on a path to converge with a diabolically sinister man named Chigurh who is out to square, rather than clean up, the drug deal mess and the local sheriff, Sheriff Bell, a longtime peace officer who wishes to save Moss from a fate that the sheriff comes to believe cannot be altered. As Sheriff Bell goes about his duty, the author takes the reader into the Sheriff’s confidence using first person narration to convey the weariness and confusion the sheriff has suddenly become aware he feels for the way the world has come to work, and the sense of frustration he has when he begins to reason that the value system that has served him so well no longer can be applied.

This reviewer found the whole of No Country for Old Men, as with many excellent books, to be greater than the sum of its parts. As a fast paced action tale of the old-fashioned page-turner variety, it will not disappoint the reader willingly enthralled by suspense and a fine tuned sense of apprehension. For the reader with an ear for, and appreciation of, the vernacular, rhythm, and speech patterns of the West Texas version of the English language that seems to be defined by the topography and weather as well as the drawl of its practitioners, this will be a book in which to revel. And lastly, there is a moral story here that reduces good and evil to the most, not the least, common denominator, and asks the reader to reflect, along with Sheriff Bell, on how the values that we count on to get by don’t necessarily add up any longer. Cormac McCarthy’s gift lies with interleaving these layers he creates into a fascinating story.

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Larry rated it:

12/16/07

Read in November, 2007

Very good but not great. Still recommended.

No Country For Old Men is memorable in many ways: the quick pace, the easy read, the crazy violence, the merciless villain and the likable characters. Unfortunately, its the way they interact, the story itself, that falls short.

Chigurh is a horrifying villain. Moss is likeable for his stubbornness, his salt-of-the-earth personality and his young wife lovable for the same reason. The Sherriff is also enjoyable as he is constantly one step behind,...more

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Tim rated it:

03/23/08

bookshelves: crime, thriller

recommends it for: Anyone

This review has been hidden because it contains spoilers. To view it, click here.

This is a great book on two levels - style and content.

You have to enter into the laconic vernacular of the border country and see how McCarthy uses it to show how a few words in the right context can get you deeper into the emotions (or lack of them) of the main protagonists than long-winded description of feelings.

He manages the rare feat of showing how a basic decency, a sentimental decency, triumphs morally over cunning and intellect. He reminds us that 'sentiment', that is feeling...more This is a great book on two levels - style and content.

You have to enter into the laconic vernacular of the border country and see how McCarthy uses it to show how a few words in the right context can get you deeper into the emotions (or lack of them) of the main protagonists than long-winded description of feelings.

He manages the rare feat of showing how a basic decency, a sentimental decency, triumphs morally over cunning and intellect. He reminds us that 'sentiment', that is feeling one's values as givens without too much analysis, is not to be despised by those whose default mode is knowing irony. There is nothing post-modern about this book.

As for the content, this is a deeply political book without once mentioning politics, as most readers would understand it.

It implies not so much the regret for lost values that other reviewers have noted and which may be obvious in the text (but which it is arguable provided a mere interlude of integrity between the normal condition of self-centred violence in the American West) but a gentle questioning of patriotism when your country has drifted far away from your own ideals and understanding, when you don't know what you are fighting for (and putting ourself at risk for) any more, when it asks too much and gives so little in return.

The American working man's experiences in America's wars overseas is a running theme 'sotto voce', underpinning the account of one incident in what is really a civil war in all but name, one in which government agents and drug runners seem to be fighting over who actually represents the will of the American people.

The Sheriff seems to sense that urban America has chosen the other side to his by providing markets for the 'criminals'. The killer Chigurh is almost a parody of the Ayn Rand libertarian in his peculiar a-social determination to 'succeed' on his own terms. He is out of the 'Fountainhead' but with crime rather than architecture and art the model. He should be fascinating but is merely chilling - a half person compared to the much weaker hero.

This book might appear to be an elegy for an older America which has been left behind (that is how most would like to interpret it), but this reader detected a darker mood, an implied anger that the betrayal of simpler souls in matters of war and peace starts to return home at the border between America and the world outside.

A cold hell (represented by Chigurh) has seeped into the homeland, looking for opportunity. Of course, nothing is made quite that clear - but that is what happens in great art, and this is great art. ...less

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Amber rated it:

04/16/08

It's really difficult for me to explain why this book feels so incredibly important to me. There's something of an Old Testament, Ecclesiastical feel to it with its paradoxes of violence and downward spiral. Were the old days better than these? Bell recalls that old surveys showed chewing gum and talking in class as major school problems; now they're rape and murder. At the same time, his own past is far from a happy one, filled with death in foreign war, ancestors killed outside their house...more It's really difficult for me to explain why this book feels so incredibly important to me. There's something of an Old Testament, Ecclesiastical feel to it with its paradoxes of violence and downward spiral. Were the old days better than these? Bell recalls that old surveys showed chewing gum and talking in class as major school problems; now they're rape and murder. At the same time, his own past is far from a happy one, filled with death in foreign war, ancestors killed outside their houses, family rifts and personal guilt. On the one hand, he blames drug-pushers for the downfall of law, people who bleed children for their money and can buy people, police, even whole countries. On the other hand, they have customers; people, even children, want to be doped up. And then there are the youth, with their green hair and bones in their noses, lawless and disrespectful of their elders. Then again, their elders walk around in a daze, unsure of themselves or anything else; do they command any respect at all?

Moss's own part is that of a hero in a thriller, but stepping back from the excitement of it all, his plight is almost absurd. Why is he doing this? He knows that at no point will someone stop looking for his two million dollars. Why does he cling so tight to something he will never enjoy, a thing that only puts himself and his family in constant danger and promises to make him a hunted man for the rest of his life? When his wife begs Moss to give up the money, calling it "a false god," she reaches the truth of the matter. The pursuit of the money is utterly futile and meaningless.

And in the midst of all this uncertainty Chigurh makes his rounds like death personified, killing almost at random, but not, I think, without any direction. He completes his killings not with any conventional, mindless pleasure but a certain satisfaction, doing what must be done. Rich and poor, old and young, friended and friendless; no one can escape him when their own time comes. Some people seem to earn their demise; others have every reason to live. Some, like the man at the convenience store, are allowed to go on. Others are simply down on their luck. Then again, is it really luck? Chigurh's flipped coin presents another paradox: predestination or chance? The toss seems arbitrary enough, but what of the journey that brought the coin, the man, the victim together after years of each one's traveling? Who could know it would come to this?

McCormac's book brings up a lot of questions and few, if any, answers. But the questions themselves...that's where the vast importance lies....less

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Robert rated it:

09/18/07

Cormac McCarthy is known for his bloody novels, but the death toll in No Country for Old Men was still a shock. In some ways, this book read more like a James Ellroy novel than a typical McCarthy book (or, at least, All the Pretty Horses and The Crossing, which were the other McCarthy books I’d read when I read this book). It’s propulsive like a typical thriller—and in that way it resembles Ellroy or Michael Connolly. It never lingers over the land, and only toward the...more Cormac McCarthy is known for his bloody novels, but the death toll in No Country for Old Men was still a shock. In some ways, this book read more like a James Ellroy novel than a typical McCarthy book (or, at least, All the Pretty Horses and The Crossing, which were the other McCarthy books I’d read when I read this book). It’s propulsive like a typical thriller—and in that way it resembles Ellroy or Michael Connolly. It never lingers over the land, and only toward the end do you get the elegiac deep sigh that is so typical of McCarthy.

Llewellyn Moss is a 30-something Vietnam vet (the story appears to take place sometime in the 80s) who stumbles across the aftermath of a gun battle in an isolated area near the border. Several trucks and dead bodies, a large amount of heroin, and a briefcase full of cash. Moss takes the cash, but makes a nonsensical decision to return to the scene later. He escapes with his life, but his truck is found and he’s marked. (He’s marked in another way that the reader doesn’t discover until later.)

The rest of the novel revolves around several parties trying to retrieve the money, the local Sheriff’s office trying to catch the bad guys, and Moss trying to keep himself and his 19-year-old wife alive. After his first blunder, Moss seems to get much smarter and more resourceful, but he’s up against a brilliant killer, Anton Chigurh. You are never sure whose side Chigurh is on. But if he’s against you, you’re dead.

Ed Tom Bell is the Sheriff of the county, and has been since the late 40s. He’s a veteran of World War II, and the book is punctuated with his reminiscences. He and his men are observers, able to anticipate what might happen and identify, to a certain extent, the players, but unable to do anything about it. He’s the old man referred to in the title, and this is his last (and worst) big case. He is out of his element, and he is painfully aware of the fact.

McCarthy is a modernist minimalist, a descendant of Hemingway. At first, he is so laconic that it’s hard to understand what’s happening and who’s who. His stylistic mannerisms are less mannered than James Ellroy—who seems to be rather influenced by McCarthy or else influenced by the same writers that influenced McCarthy. At first, No Country for Old Men reads like a regular thriller. But the inconclusive, slowed-down ending is unlike any thriller. A thriller is about that satisfying release at the end, and McCarthy doesn’t provide that.

I enjoyed this book, but it was not something that will stick with me the way All the Pretty Horses did....less

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Heather rated it:

11/09/07

Read in December, 2005

Very late last night I finished reading No Country For Old Men, the newest novel by one of my favorite authors Cormac McCarthy, and I highly recommend it. Like all of his novels, this is stark and elegaic writing at its best. McCarthy writes about the desolate borderlands of southern Texas with a restraint and a beauty that I would have never imagined I would be drawn to, but I am.

As an author, he is stripped-down, using limited punctuation and only necessary words as he crafts terse and hea...more Very late last night I finished reading No Country For Old Men, the newest novel by one of my favorite authors Cormac McCarthy, and I highly recommend it. Like all of his novels, this is stark and elegaic writing at its best. McCarthy writes about the desolate borderlands of southern Texas with a restraint and a beauty that I would have never imagined I would be drawn to, but I am.

As an author, he is stripped-down, using limited punctuation and only necessary words as he crafts terse and heart-wrenching prose. Listen to this excerpt:

“He stood there looking out across the desert. So quiet. Low hum of the wind in the wires. High bloodweeds along the road. Wiregrass and sacahuista. Beyond in the stone arroyos the tracks of dragons. The raw rock mountains shadowed in the late sun and to the east the shimmering abscissa of the desert plains under a sky where raincurtains hung dark as soot all along the quadrant. That god lives in silence who has scoured the following land with salt and ash. He walked back to the cruiser and got in and pulled away.”

The action revolves around a drug war (with its ensuing stolen money and motel shootouts, but not in a corny or comic-book violence way), and its effects on the lives of several people involved in the small border towns the war traverses. This book is thematically kind of like Traffic (the movie) without the soundtrack.

Reading his books is like slipping away into a world that you can viscerally feel as you delve into the dusty roads of his characters and plotlines. This one is pretty bloody, actually, full of bad men and evil deeds, but the human development and dialogue for me is more compelling and drew me in. It is a fascinating glimpse into a part of our land (the country between Texas and Mexico) that I wouldn't otherwise think twice about - maybe just drive through it quickly on a roadtrip, looking for the next rest-stop. As a character in the book reflects, "It just seemed to me that this country has got a strange kind of history and a damned bloody one too."

McCarthy writes poetry in the form of novels. I first had to read All The Pretty Horses in Mr. Hanford's sophomore English class in high school, and it has stuck with me and grown on me as one of my favorites. If you've never read any of his works, take some time to sit down and lose yourself in one of his novels. They transport you to the rhythms and cadences of another lifestyle, another lifetime, soaked in barren beauty....less

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Matthew rated it:

(review of isbn 0375406778)

07/25/07

No Country For Old Men may be Cormac McCarthy's most accessible and fun book yet, but that doesn't mean there's nothing more to it. Ostensibly the story of a drug deal gone bad, it's also an elegy for simpler (or at least, less horrible) times, a study of the relationship between fathers and their sons, and - like all Cormac McCarthy books that I've read - an existential probe into the nature of evil with only the faintest glimmer of any hope or any God. It also features one of the most f...more

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Micah rated it:

12/07/07

Read in November, 2007

No Country for Old Men is the first Cormac McCarthy book that I've read, and I was pleasantly surprised by the disturbing yet elegant nature of his story and writing. In this book, McCarthy tells the tale of a West Texas Sheriff's last case -- a case that ultimately pushes him into a mournful retirement. But this is no mystery/thriller in the conventional sense of cop chases bad guy. Rather, No Country for Old Men is a horror story in the purest sense of the genre. McCarthy allows us a clear loo...more No Country for Old Men is the first Cormac McCarthy book that I've read, and I was pleasantly surprised by the disturbing yet elegant nature of his story and writing. In this book, McCarthy tells the tale of a West Texas Sheriff's last case -- a case that ultimately pushes him into a mournful retirement. But this is no mystery/thriller in the conventional sense of cop chases bad guy. Rather, No Country for Old Men is a horror story in the purest sense of the genre. McCarthy allows us a clear look into the mind and actions of the novel's villain, and what we see there is deeply disturbing. He is a man with clear principles and an arguably admirable moral code, yet his actions reveal a shockingly violent and ruthless persuasion that casts a dark shadow of discomfort over every one of this novel's pages. This shadow ultimately consumes the story's hero (the sheriff), revealing to him the futility of trying to age with dignity in a country whose spirit is ultimately wild and ravenous. McCarthy uses a sparse writing style to invoke the sense of impending doom for the lifestyle that we have come to embrace as the "American way." But No Country for Old Men never lets us forget that the "American way" is a concept that has been changing since Europeans happened upon the shores of the North American continent. Not only is this land no country for old West Texas sheriffs who can't figure out how to deal with 21st Century criminals operating according to a baffling and dangerous moral code, but this land has also been no country for old men of every caste and breed -- especially those indigenous elders who saw their homelands and traditions destroyed right before their eyes. And this is the great irony of this novel: we sympathize with the traditional West Texan who is overcome with confusion in the face of the 21st Century criminal mind, yet we are distinctly aware that it is this very West Texan's family who stormed through the southwest disrupting and destroying the lives of the Comanches and so many others. This simply-written book is full of thought-provoking situations that will scare you to your core (or at least it scared me). No Country for Old Men is a testament to the way that this land has consumed the hopes, ambitions, and beliefs of so many people. This book has stimulated my appetite for McCarthy's writing, and I am very anxious to delve into another one of his creations....less

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Eric rated it:

11/26/07

bookshelves: favorites, fiction, recent-reads

Read in November, 2007

loved this book. like 'the road', this one is a harrowing, ruthless, page-turner. i couldn't put it down. i unfortunately waited to read the book until i knew who had been cast to play the characters in the film, so of course, i'm seeing these folks as the characters. i'm not sure this really hurt my reading of the book, however. sometimes it's good to have a concrete image of the character in your mind, even if it is of a movie star.

i have read a lot of comments about this book whic...more loved this book. like 'the road', this one is a harrowing, ruthless, page-turner. i couldn't put it down. i unfortunately waited to read the book until i knew who had been cast to play the characters in the film, so of course, i'm seeing these folks as the characters. i'm not sure this really hurt my reading of the book, however. sometimes it's good to have a concrete image of the character in your mind, even if it is of a movie star.

i have read a lot of comments about this book which point to its brutality and alleged lack of moral center, etc. i found the character of bell (the sheriff) to be a profound and wise character, although bewildered and defeated in many ways. he grounds this book with his meditations of our declining morality, his reflections on regret and faith, and his sisyphean longing to blanket his people with safety and a sense of comfort.

the character of chigurh is seen by many to be devoid of anything. he appears to have no compassion or empathy at all. he sets the tone of this novel and single-handedly spills nearly all the blood (and there's lots). yet his twisted reflections on fate and free will (often discussed with his victims minutes before they expire) pack a considerable wallop. i believe that in many ways chigurh is mccarthy's analogy of present-day attitudes re: violence. our inability to change the course of where society is heading. we made the decisions to get us where we are today, with regards to drug culture, gang-wars, desensitization, etc. and we are being held accountable. chigurh is a symptom of a sick society. his codes are very well-defined and follow their own logic very clearly, even if they seem completely and utterly at odds with good will and common sense.

i'm rambling, and am still pondering what goes on in this book. i believe what i truly like about mccarthy's book, other than the obvious, is what he doesn't tell us. mccarthy can be one of the most economical writers of our time, when he wants to be. he never underestimates the intelligence of his audience, and allows us to draw our own lines and conclusions, while never leaving us without the themes and symbols and clues necessary to draw them.

not his best book, but damn, this is a good one. ...less

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Shea rated it:

04/06/08

Read in April, 2008

In short? Absolutely phenomenal! After reading The Road and No Country For Old Men, Cormac McCarthy has quickly ascended my list of favorite authors to the near top of it. It seems that he manages to consistently weave very interesting and thought-provoking theoretical and philosophical concepts into every story that escapes his pen. No Country For Old Men is very much the same.

The novel is set on the Texan-Mexican border in roughly the same time period that we live in t...more In short? Absolutely phenomenal! After reading The Road and No Country For Old Men, Cormac McCarthy has quickly ascended my list of favorite authors to the near top of it. It seems that he manages to consistently weave very interesting and thought-provoking theoretical and philosophical concepts into every story that escapes his pen. No Country For Old Men is very much the same.

The novel is set on the Texan-Mexican border in roughly the same time period that we live in today. However, life as we know it and life in that country are vastly different worlds. The drug-trade is a normal part of everyday life where members of various cartels slaughter each other on a consistent basis. Individuals who are not part of this endless cycle are all "good folk" who look out for each other and the "town sheriff" is charged with making sure they remain safe.

The main character of the novel, Llewelyn Moss, sets off a bloody chain reaction when he comes across the aftermath of one such slaughter and discovers a satchel of money left over. When he takes it for himself, he unknowingly sets what seems to be a sociopathic killer, Anton Chigurh, onto his trail. Chigurh's attitude and state of mind towards killing another individual is the same as if he had just finished folding his laundry. McCarthy does an EXCELLENT job in portraying Chigurh's cold nature.

The "town sheriff" trapped in the middle of this mess, Ed Tom Bell, is your stereotypical small town sheriff. He can't believe one man can be responsible for so much blood, yet he isn't surprised because he believes that there is no shortage of evil in the world. His sometimes fatalistic attitude towards these events is evidence of seasoned and disillusioned law enforcer in a lawless region is also portrayed incredibly well by McCarthy. In the meantime, McCarthy subtly works in themes of right and wrong, the ability to change or not change catastrophic events, redemption for past wrongs, the afterlife (whether or not there is one), etc. And he does it well.

To put it mildly, I LOVED this novel. My jaw literally dropped not once, but twice, during the major climax of the novel. I've seen many critics' descriptions of McCarthy as one of the most important writers of our time, and I can't say that I'd disagree with that....less

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Amanda rated it:

03/22/08

Read in March, 2008

This book is basically: No Country for Old Men tells the story of a drug deal gone wrong and the ensuing cat-and-mouse drama, as three men crisscross each other's paths in the desert landscape of 1980 West Texas.

I've had the movie for about a week and felt that I really needed to read the book first. Luckily, my friend had it and loaned it to me.

I've read The Road and was dumbfounded by the bleakness of it. No Country for Old Men dumbfounds me with the violence. Admittedly, the very firs...more

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