β
Scars have the strange power to remind us that our past is real.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Between the wish and the thing the world lies waiting.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
I can normally tell how intelligent a man is by how stupid he thinks I am.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
He stood at the window of the empty cafe and watched the activites in the square and he said that it was good that God kept the truths of life from the young as they were starting out or else they'd have no heart to start at all.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
There is no forgiveness. For women. A man may lose his honor and regain it again. But a woman cannot. She cannot.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Deep in each man is the knowledge that something knows of his existence. Something knows, and cannot be fled nor hid from.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
Long before morning I knew that what I was seeking to discover was a thing I'd always known. That all courage was a form of constancy. That it is always himself that the coward abandoned first. After this all other betrayals come easily.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
He thought that in the beauty of the world were hid a secret. He thought that the worldβs heart beat at some terrible cost and that the worldβs pain and its beauty moved in a relationship of diverging equity and that in this headlong deficit the blood of multitudes might ultimately be exacted for the vision of a single flower.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
The closest bonds we will ever know are bonds of grief. The deepest community one of sorrow.
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β
Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Scared money canβt win and a worried man canβt love.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Life is a memory, and then it is nothing.
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β
Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
In the end we all come to be cured of our sentiments.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Ever dumb thing I ever done in my life there was a decision I made before that got me into it. It was never the dumb thing. It was always some choice I'd made before it.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
So everything is necessary. Every least thing. This is the hard lesson. Nothing can be dispensed with. Nothing despised. Because the seams are hid from us, you see. The joinery. The way in which the world is made. We have no way to know what could be taken away. What omitted. We have no way to tell what might stand and what might fall.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
It was always himself that the coward abandoned first. After this all other betrayals came easily.
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β
Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
My daddy used to tell me not to chew on something that was eatin you.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
A goodlookin horse is like a goodlookin woman, he said. They're always more trouble than what they're worth. What a man needs is just one that will get the job done.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Our waking life's desire to shape the world to our convenience invites all manner of paradox and difficulty.
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β
Cormac McCarthy (Cities of the Plain (The Border Trilogy #3))
β
Nor does God whisper through the trees. His voice is not to be mistaken. When men hear it they fall to their knees and their souls are riven and they cry out to Him and there is no fear but only wildness of heart that springs from such longing...
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
He sat a long time and he thought about his life and how little of it he could ever have foreseen and he wondered for all his will and all his intent how much of it was his doing.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
He'd half meant to speak but those eyes had altered the world forever in the space of a heartbeat.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
What he loved in horses was what he loved in men, the blood and the heat of the blood that ran them. All his reverence and all his fondness and all the leanings of his life were for the ardenhearted and they would always be so and never be otherwise.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
I knew that what I was seeking to discover was a thing I'd always known. That all courage was a form of constancy. That it was always himself that the coward abandoned first. After this all other betrayals came easily.
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β
Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
I don't know what sort of world she will live in and I have no fixed opinions concerning how she should live in it. I only know that if she does not come to value what is true above what is useful, it will make little difference whether she lives at all.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Things separate from their stories have no meaning. They are only shapes. Of a certain size and color. A certain weight. When their meaning has become lost to us they no longer have even a name. The story on the other hand can never be lost from its place in the world for it is that place.
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β
Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
She looked up at him and her face was pale and austere in the uplight and her eyes lost in their darkly shadowed hollows save only for the glint of them and he could see her throat move in the light and he saw in her face and in her figure something he'd not seen before and the name of that thing was sorrow.
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β
Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Men say they only learn this but he said that no creature can learn that which his heart has no shape to hold.
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β
Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
They heard somewhere in that tenantless night a bell that tolled and ceased where no bell was and they rode out on the round dais of the earth which alone was dark and no light to it and which carried their figures and bore them up into the swarming stars so that they rode not under but among them and they rode at once jaunty and circumspect, like thieves newly loosed in that dark electric, like young thieves in a glowing orchard, loosely jacketed against the cold and ten thousand worlds for the choosing.
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β
Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
It was the nature of his profession that his experience with death should be greater than for most and he said that while it was true that time heals bereavement it does so only at the cost of the slow extinction of those loved ones from the heart's memory which is the sole place of their abode then or now. Faces fade, voices dim. Seize them back, whispered the sepulturero. Speak with them. Call their names. Do this and do not let sorrow die for it is the sweetening of every gift.
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β
Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
In the end we all come to be cured of our sentiments. Those whom life does not cure death will. The world is quite ruthless in selecting between the dream and reality, even where we will not. Between the wish and the thing the world lies waiting. I've thought a great deal about my life and my country. I think there is little that can be truly known. My family has been fortunate. Others were less so. As they are often quick to point out.
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β
Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Words pale and lose their savor while pain is always new.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
Maybe it's like Mac says. Ever man winds up with the horse that suits him.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
Doomed enterprises divide lives forever into the then and now
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β
Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
Finally he said that among men there was no such communion as among horses and the notion that men can be understood at all was probably an illusion.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
This place aint the same. It never will be. Maybe we've all got a little crazy. I guess if everbody went crazy together nobody would notice, what do you think?
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
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Things separate from their stories have no meaning. They are only shapes.
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β
Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
The names of the cerros and the sierras and the deserts exist only on maps. We name them that we do not lose our way. Yet it was because the way was lost to us already that we have made those names. The world cannot be lost. We are the ones. And it is because these names and these coordinates are our own naming that they cannot save us. They cannot find for us the way again.
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β
Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
In history there are no control groups. There is no one to tell us what might have been. We weep over the might have been, but there is no might have been. There never was. It is supposed to be true that those who do not know history are condemned to repeat it. I don't believe knowing can save us. What is constant in history is greed and foolishness and a love of blood and this is a thing that even God--who knows all that can be known--seems powerless to change.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
he said that it was good that God kept the truths of life from the young as they were starting out or else theyβd have no heart to start at all
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
It had ceased raining in the night and he walked out on the road and called for the dog. He called and called. Standing in that inexplicable darkness. Where there was no sound anywhere save only the wind. After a while he sat in the road. He took off his hat and placed it on the tarmac before him and he bowed his head and held his face in his hands and wept. He sat there for a long time and after a while the east did gray and after a while the right and godmade sun did rise, once again, for all and without distinction.
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β
Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
The man smiled at him a sly smile. As if they knew a secret between them, these two. Something of age and youth and their claims and the justice of those claims. And of the claims upon them. The world past, the world to come. Their common transiencies. Above all a knowing deep in the bone that beauty and loss are one.
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β
Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
He believed in God even if he was doubtful of men's claims to know God's mind. But that a God unable to forgive was no God at all.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
He said that whether a man's life was writ in a book someplace or whether it took its form day by day was one and the same for it had but one reality and that was the living of it.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
It looks a lot better from up here than it does down there, dont it?
Yes. It does.
There's a lot of things look better at a distance.
Yeah?
I think so. I guess there are. The life you've lived, for one.
Yeah. Maybe what of it you aint lived yet, too.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
You never know when you'll be in need of them you've despised,
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
He lay on his back in his blankets and looked our where the quartermoon lay cocked over the heel of the mountains. In the false blue dawn the Pleiades seemed to be rising up into the darkness above the world and dragging all the stars away, the great diamond of Orion and Cepella and the signature of Cassiopeia all rising up through the phosphorous dark like a sea-net. He lay a long time listening to the others breathing in their sleep while he contemplated the wildness about him, the wildness within.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
I didn't mean I'd seen everything, John Grady said.
I know you didn't.
I just meant I'd seen some things I'd as soon not of.
I know it. There's hard lessons in this world.
What's the hardest?
I dont know. Maybe it's just that when things are gone they're gone. They aint comin back.
Yessir.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
and for a moment he held out his hands as if to steady himself or as if to bless the ground there or perhaps as if to slow the world that was rushing away and seemed to care nothing for the old or the young or rich or poor or dark or pale or he or she. Nothing for their struggles, nothing for their names. Nothing for the living or the dead.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Every man's death is standing in for every other. And since death comes to all there is no way to abate the fear of it except to love the man who stands for us.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
The wicked know that if the ill they do be of sufficient horror that men will not speak against it. That men have just enough stomach for small evils and only these will they oppose.
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β
Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
By early evening all the sky to the north had darkened and the spare terrain they trod had turned a neuter gray as far as the eye could see. They grouped in the road at the top of a rise and looked back. The storm front towered above them and the wind was cool on their sweating faces. They slumped bleary-eyed in their saddles and looked at one another. Shrouded in the black thunderheads the distant lightning glowed mutely like welding seen through foundry smoke. As if repairs were under way at some flawed place n the iron dark of the world.
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β
Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
He remembered Alejandra and the sadness he'd first seen in the slope of her shoulders which he'd presumed to understand and of which he knew nothing and he felt a loneliness he'd not known since he was a child and he felt wholly alien to the world although he loved it still. He thought that in the beauty of the world were hid a secret. He thought the world's heart beat at some terrible cost and that the world's pain and it's beauty moved in a relationship of diverging equity and that in this headlong deficit the blood of multitudes might ultimately be exacted for the vision of a single flower.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Acts have their being in the witness. Without him who can speak of it? In the end one could even say that the act is nothing, the witness all.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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Son, not everbody thinks that life on a cattle ranch in west Texas is the second best thing to dyin and goin to heaven.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
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My daddy once told me that some of the most miserable people he ever knew were the ones that finally got what theyβd always wanted.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
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The passing of armies and the passing of sands in the desert are one.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
in dreams it is often the case that the greatest extravagances seem bereft of their power to astonish and the most improbable chimeras seem commonplace.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
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In the end we all come to be cured of our sentiments. Those whom life does not cure, death will. The world is quite ruthless in selecting between the dream and the reality even where we will not. Between the wish and the thing, the world lies waiting.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
The eye turned to the fire gave back no light and he closed it with his thumb and sat by her and put his hand upon her bloodied forehead and closed his own eyes that he could see her running in the mountains, running in the starlight where the grass was wet and the sun's coming as yet had not undone the rich matrix of creatures passed in the night before her. Deer and hare and dove and groundvole all richly empaneled on the air for her delight, all nations of the possible world ordained by God of which she was one among and not separate from. Where she ran the cries of the coyotes clapped shut as if a door had closed upon them and all was fear and marvel. He took up her stiff head out of the leaves and held it or he reached to hold what cannot be held, what already ran among the mountains at once terrible and of great beauty, like flowers that feed on flesh. What blood and bone are made of but can themselves not make on any altar nor by any wound of war. What we may well believe has power to cut and shape and hollow out the dark form of the world surely if wind can, if rain can. But which cannot be held never be held and is no flower but is swift and a huntress and the wind itself is in terror of it and the world cannot lose it.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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You either stick or you quit. And I wouldnt quit you I dont care what you done.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
He is where he is supposed to be. And yet the place he has found is also of his own choosing. That is a piece of luck not to be despised.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
There is but one world and everything that is imaginable is necessary to it. For this world also which seems to us a thing of stone and flower and blood is not a thing at all but is a tale. And all in it is a tale and each tale the sum of all lesser tales and yet these are also the selfsame tale and contain as well all else within them. So everything is necessary. Every least thing. This is the hard lesson. Nothing can be dispensed with. Nothing despised. Because the seams are hid from us, you see. The joinery. The way in which the world is made. We have no way to know what could be taken away. What omitted. We have no way to tell what might stand and what might fall. And those seams that are hid from us are of course in the tale itself and the tale has no abode or place of beind except in the telling only and there it lives and makes its home and therefore we can never be done with the telling. Of the telling there is no end. And . . . in whatever . . . place by whatever . . . name or by no name at all . . . all tales are one. Rightly heard all tales are one.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
β
Maybe. Anyway, some men get what they want.
No man. Or perhaps only briefly so as to lose it. Or perhaps only to prove to the dreamer that the world of his longing made real is no longer that world at all.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
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It just bothered me that you might think I'm somethin special. I aint.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
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The martyr who longs for the flames can be no right candidate for them.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
There was someone there and they had been there. There was no one there. There was someone there and they had been there and they had not left but there was no one there.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
The boy who rode on slightly before him sat a horse not only as if he'd been born to it which he was but as if were he begot by malice or mischance into some queer land where horses never were he would have found them anyway. Would have known that there was something missing for the world to be right or he right in it and would have set forth to wander wherever it was needed for as long as it took until he came upon one and he would have known that that was what he sought and it would have been.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Men do not turn from God so easily. Not so easily. Deep in each man is the knowledge that something knows of his existence. Something knows, and cannot e fled nor hid from. To imagine otherwise is to imagine the unspeakable. It was never that this man ceased to believe in God. No. It was rather that he came to believe terrible things of him.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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All his early dreams were the same. Something was afraid and he had come to comfort it.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
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I'd rather to make a good run as a bad stand.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
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He tried to read her heart in her handclasp but he knew nothing.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
He looked into those blue eyes like a man seeking some vision of the increate future of the universe.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
For me the world has always been more of a puppet show. But when one looks behind the curtain and traces the strings upward he finds they terminate in the hands of yet other puppets, themselves with their own strings which trace upward in turn, and so on. In my own life I saw these strings whose origins were endless enact the deaths of great men in violence and madness. Enact the ruin of a nation.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Men imagine that the choices before them are theirs to make. But we are free to act only upon what is given. Choice is lost in the maze of generations and each act in that mazeis itself an enslavement for it voids every alternate and binds one ever more tightly in to the constraints that make a life.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
Every manβs death is a standing in for every other. And since death comes to all there is no way to abate the fear of it except to love that man who stands for us. We are not waiting for his history to be written. He passed here long ago. That man who is all men and who stands in the dock for us until our own time come and we must stand for him. Do you love him, that man? Will you honor the path he has taken? Will you listen to his tale?
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
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Yet it is the narrative that is the life of the dream while the events themselves are often interchangeable. The events of the waking world on the other hand are forced upon us and the narrative is the unguessed axis along which they must be strung.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
In the spaniards heart is a great yearning for freedom, but only his own. A great love for truth and honor in all its forms, but not in its substance. And a deep conviction that nothing can be proven except that it be made to bleed. Virgins, bulls, men. Ultimately God himself.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
They rode out along the fenceline and across the open pastureland. The leather creaked in the morning cold. They pushed the horses into a lope. The lights fell away behind them. They rode out on the high prairie where they slowed the horses to a walk and the stars swarmed around them out of the blackness. They heard somewhere in that tenantless night a bell that tolled and ceased where no bell was and they rode out on the round dais of the earth which alone was dark and no light to it and which carried their figures and bore them up into the swarming stars so that they rode not under but among them and they rode at once jaunty and circumspect, like thieves newly loosed in that dark electric, like young thieves in a glowing orchard, loosely jacketed against the cold and ten thousand worlds for the choosing.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
If fate is the law, then is fate also subject to that law? At some point we cannot escape naming responsibility. It's in our nature. Sometimes I think we are all like that myopic coiner at his press, taking the blind slugs one by one from the tray, all of us bent so jealously at our work, determined that not even chaos be outside of our own making.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
Looking over the country with those sunken eyes as if the world out there had been altered or made suspect by what he'd seen of it elsewhere. As if he might never see it right again. Or worse did see it right at last. See it as it had always been, would forever be.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
the beast who dreams of man and has so dreamt in running dreams a hundred thousand years and more. Dreams of that malignant lesser god come pale and naked and alien to slaughter all his clan and kin and rout them from their house. A god insatiable whom no ceding could appease nor any measure of blood.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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Finally he said that if men drink the blood of God yet they do not understand the seriousness of what they do. He said that men wish to be serious but they do not understand how to be so. Between their acts and their ceremonies lies the world and in this world the storms blow and the trees twist in the wind and all the animals that God has made go to and fro yet this world men do not see. They see the acts of their own hands or they see that which they name and call out to one another but the world between is invisible to them
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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The immappable world of our journey. A pass in the mountains. A bloodstained stone. The marks of steel upon it. Names carved in the corrosible lime among stone fishes and ancient shells. Things dimmed and dimming. The dry sea floor. The tools of migrant hunters. The dreams encased upon the blades of them. The peregrine bones of a prophet. The silence. The gradual extinction of rain. The coming of night.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
If a dream can tell the future it can also thwart that future. For God will not permit that we shall know what is to come. He is bound to no one that the world unfold just so upon its course and those who by some sorcery or by some dream might come to pierce the veil that lies so darkly over all that is before them may serve by just that vision to cause that God should wrench the world from its heading and set it upon another course altogether and then where stands the sorcerer? Where the dreamer and his dream?
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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When youβre a kid you have these notions about how things are goin to be, Billy said. You get a little older and you pull back some on that. I think you just wind up tryin to minimize the pain. Anyway this country aint the same. Nor anything in it. The war changed everthing. I dont think people even know it yet.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
β
Ah, they said. QuΓ© bueno. And after and for a long time to come he'd have reason to evoke the recollection of those smiles and to reflect upon the good will which provoked them for it had power to protect and to confer honor and to strengthen resolve and it had power to hear men and to bring them to safety long after all other resources were exhausted.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
β
He told the boy that although he was huΓ©rfano still he must cease his wanderings and make for himself some place in the world because to wander in this way would become for him a passion and by this passion he would become estranged from men and so ultimately from himself. He said that the world could only be known as it existed in men's hearts. For while it seemed a place which contained men it was in reality a place contained within them and therefore to know it one must look there and come to know those hearts and to do this one must live with men and not simply pass among them. He said that while the huΓ©rfano might feel that he no longer belonged among men he must set this feeling aside for he contained within him a largeness of spirit which men could see and that men would wish to know him and that the world would need him even as he needed the world for they were one. Lastly he said that while this itself was a good thing like all good things it was also a danger. Then he removed his hands from the boy's saddle and stepped away and stood. The boy thanked him for his words but he said that he was in fact not an orphan and then he thanked the women standing there and turned the horse and rode out. They stood watching him go. As he passed the last of the brush wickiups he turned and looked back and as he did so the old man called out to him. Eres, he said. Eres huΓ©rfano.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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He said that war had destroyed the country and that men believe the cure for war is war as the curandero prescribes the serpent's flesh for its bite. He spoke of his campaigns in the deserts of Mexico and he told them of horses killed under him and he said that the souls of horses mirror the souls of men more closely than men suppose and that horses also love war. Men say they only learn this but he said that no creature can learn that which his heart has no shape to hold. His own father said that no man who has not gone to war horseback can ever truly understand the horse and he said that he supposed he wished that this were not so but that it was so.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
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When the flames came up her eyes burned out there like gatelamps to another world. A world burning on the shore of an unknowable void. A world construed out of blood and blood's alcahest and blood in its core and in its integument because it was nothing save blood had power to resonate against that void which threatened hourly to devour it. He wrapped himself in the blanket and watched her. When those eyes and the nation to which they stood witness were gone at last with their dignity back into their origins there would perhaps be other fires and other witnesses and other worlds otherwise beheld. But they would not be this one.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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they rode out on the round dais of the earth which alone was dark and no light to it and which carried their figures and bore them up into the swarming stars so that they rode not under but among them and they rode at once jaunty and circumspect, like thieves newly loosed into that dark electric, like young thieves in a glowing orchard, loosely jacketed against the cold and ten thousand worlds for the choosing.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
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You call forth the world which God has formed and that world only. Nor is this life of yours by which you set such store your doing, however you may choose to tell it. Its shape was forced in the void at the onset and all talk of what might otherwise have been is senseless for there is no otherwise. Of what could it be made? Where be hid? Or how make its appearance? The probability fo the actual is absolute. That we have no power to guess it out beforehand makes it no less certain. That we may imagine alternate histories means nothing at all.
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Cormac McCarthy (Cities of the Plain (The Border Trilogy, #3))
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The fire had burned to coals and he lay looking up at the stars in their places and the hot belt of matter that ran the chord of the dark vault overhead and he put his hands on the ground at either side of him and pressed them against the earth and in that coldly burning canopy of black he slowly turned dead center to the world, all of it taut and trembling and moving enormous and alive under his hands.
What's her name? said Rawlins in the darkness.
Alejandra. Her name is Alejandra.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
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She said that her grandmother was skeptical of many things in this world and of none more than men. She said that in every trade save war men of talent and vigor prosper. In war they die. Her grandmother spoke to her often of men and she spoke with great earnestness and she said that rash men were a great temptation to women and this was simply a misfortune like others and there was little that could be done to remedy it. She said that to be a woman was to live a life of difficulty and heartbreak and those who said otherwise simply had no wish to face the facts. And she said that since this was so nor could it be altered one was better to follow oneβs heart in joy and in misery than simply to seek comfort for there was none. To seek it was only to welcome in the misery and to know little else. She said that these were things all women knew yet seldom spoke of. Lastly she said that if women were drawn to rash men it was only that in their secret hearts they knew that a man who would not kill for them was of no use at all.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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For this world also which seems to us a thing of stone and flower and blood is not a thing at all but a tale. And all in it is a tale and each tale the sum of all lesser tales and yet these are the selfsame tale and contain as well all within them. So everything is necessary. Every least thing. This is the hard lesson. Nothing can be dispensed with. Nothing despised. Because the seams are hid from us, you see. The joinery. The way in which the world is made. We have no way to know what could be taken away. What omitted. We have no way to tell what might stand and what might fall.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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The following night she came to his bed and she came every night for nine nights running, pushing the door shut and latching it and turning in the slatted light at God knew what hour and stepping out of her clothes and sliding cool and naked against him in the narrow bunk all softness and perfume and the lushness of her black hair falling over him and no caution to her at all. Saying I dont care I dont care. Drawing blood with her teeth where he held the heel of his hand against her mouth that she not cry out.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
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He said that those who have endured some misfortune will always be set apart but that it is just that misfortune which is their gift and which is their strength and that they must make their way back into the common enterprise of man for without they do so it cannot go forward and they themselves will wither in bitterness. He said these things to me with great earnestness and great gentleness and in the light from the portal I could see that he was crying and I knew that it was my soul he wept for. I had never been esteemed in this way. To have a man place himself in such a position. I did not know what to say. That night I thought long and not without despair about what must become of me. I wanted very much to be a person of value and I had to ask myself how this could be possible if there were not something like a soul or like a spirit that is in the life of a person and which could endure any misfortune or disfigurement and yet be no less for it. If one were to be a person of value that value could not be a condition subject to the hazards of fortune. It had to be a quality that could not change. No matter what. Long before morning I knew that what I was seeking to discover was a thing Iβd always known. That all courage was a form of constancy. That it was always himself that the coward abandoned first. After this all other betrayals came easily. I knew that courage came with less struggle for some than for others but I believed that anyone who desired it could have it. That the desire was the thing itself. The thing itself. I could think of nothing else of which that was true.
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Cormac McCarthy (All the Pretty Horses (The Border Trilogy, #1))
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Easy to see that naught save sorrow could bring a man to such a view of things. And yet a sorrow for which there can be no help is no sorrow. It is some dark sister traveling in sorrow's clothing. Men do not turn from God so easily you see. Not so easily. Deep in each man is the knowledge that something knows of his existence. Something knows, and cannot be fled nor hid from. To imagine otherwise is to imagine the unspeakable. It was never that this man ceased to believe in God. No. It was rather that he came to believe terrible things of Him.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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Long voyages often lose themselves.
Mam?
You will see. It is difficult even for brothers to travel together on such a voyage. The road has its own reasons and no two travelers will have the same understanding of those reasons. If indeed they come to an understanding of them at all. Listen to the corridos of the country. They will tell you. Then you will see in your own life what is the cost of things. Perhaps it is true that nothing is hidden. Yet many do not wish to see what lies before them in plain sight. You will see. The shape of the road is the road. There is not some other road that wears the shape but only the one. And every voyage begun upon it will be completed. Whether horses are found or not.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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The wicked know that if the ill they do be of sufficient horror that men will not speak against it. That men have just enough stomach for small evils and only these will they oppose. He said that true evil has power to sober the smalldoer against his own deeds and in the contemplation of that evil he may even find the path of righteousness which has been foreign to his feet and may have no power but to go upon it. Even this man may be appalled at what is revealed to him and seek some order to stand against it. Yet in all of this there are two things which perhaps he will not know. He will not know that while the order which the righteous seek is never righteousness itself but is only order, the disorder of evil is in fact the thing itself. Nor will he know that while the righteous are hampered at every turn by their ignorance of evil to the evil all is plain, light and dark alike. This man of which we speak will seek to impose order and lineage upon things which rightly have none. He will call upon the world itself to testify as to the truth of what are in fact but his desires. In his final incarnation he may seek to indemnify his words with blood for by now he will have discovered that words pale and lose their savor while pain is always new.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))
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I am here because of a certain man. I came to retrace his steps. Perhaps to see if there were not some alternate course. What was here to be found was not a thing. Things separate from their stories have no meaning. They are only shapes. Of a certain size and color. A certain weight. When their meaning has become lost to us they no longer have even a name. The story on the other hand can never be lost from its place in the world for it is that place. And that is what was to be found here. The corrido. That tale. And like all corridos it ultimately told one story only, for there is only one to tell.
The cats shifted and stirred, the fire creaked in the stove. Outside in the abandoned village the profoundest silence.
What is the story? the boy said.
In the town of Caborca on the Altar River there was a man who lived there who was an old man. He was born in Caborca and in Caborca he died. Yet he lived once in this town, in Huisiachepic.
What does Caborca know of Huisiachepic, Huisiachepic of Caborca? They are different worlds, you must agree. Yet even so there is but one world and everything that is imaginable is necessary to it. For this world also which seems to us a thing of stone and flower and blood is not a thing at all but a tale. And all in it is a tale and each tale the sum of all lesser tales and yet they are the selfsame tale and contain as well all else within them. So everything is necessary. Every least thing. This is a hard lesson. Nothing can be dispensed with. Nothing despised. Because the seems are hid from us, you see. The joinery. The way in which the world is made. We have no way to tell what might stand and what might fall. And those seams that are hid from us are of course in the tale itself and the tale had no abode or place of being except in the telling only and there it lives and makes its home and therefore we can never be done with the telling. Of the telling there is no end. And whether in Caborca or Huisiachepic or in whatever other place by whatever other name or by no name at all I say again all tales are one. Rightly heard all tales are one.
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Cormac McCarthy (The Crossing (The Border Trilogy, #2))