Mccarthy Writing Quotes

I don't know why I started writing. I don't know why anybody does it. Maybe they're bored, or failures at something else.

You are either born a writer or you are not.

I’m not interested in writing short stories. Anything that doesn’t take years of your life and drive you to suicide hardly seems worth doing.

I never had any doubts about my abilities. I knew I could write. I just had to figure out how to eat while doing this. [Cormac McCarthy's Venomous Fiction, New York Times, April 19, 1992]

Every word she writes is a lie, including ‘and’ and ‘the’." (on Lillian Hellman)

My perfect day is sitting in a room with some blank paper. That's heaven. That's gold and anything else is just a waste of time.

Creative work is often driven by pain. It may be that if you don't have something in the back of your head driving you nuts, you may not do anything. It's not a good arrangement. If I were God, I wouldn't have done it that way. [Interview, The Wall Street Journal, Nov. 20, 2009]

We had found nothing, and had been lost several times already in one morning, so this was shaping up into a top travel experience.

Writing is very subconscious and the last thing I want to do is think about it.

Teaching writing is a hustle.

I like what I do. Some writers have said in print that they hated writing and it was just a chore and a burden. I certainly don't feel that way about it. Sometimes it's difficult. You know, you always have this image of the perfect thing which you can never achieve, but which you never stop trying to achieve. But I think ... that's your signpost and your guide. You'll never get there, but without it you won't get anywhere. [Interview with Oprah Winfrey, June 5, 2007]

If there is an occupational hazard to writing, it's drinking.

The mother dead these fourteen years did incubate in her own bosom the creature who would carry her off. The father never speaks her name, the child does not know it. He has a sister in this world that he will not see again. He watches, pale and unwashed. He can neither read nor write and in him broods already a taste for mindless violence. All history present in that visage, the child the father of the man.

I hear people talking about going on a vacation or something and I think, what is that about? I have no desire to go on a trip. My perfect day is sitting in a room with some blank paper. That's heaven. That's gold and anything else is just a waste of time.

Luckily, I am writing a memoir and not a work of fiction, and therefore I do not have to account for my grandmother’s unpleasing character and look for the Oedipal fixation or the traumatic experience which would give her that clinical authenticity that is nowadays so desirable in portraiture.

CHIEF LAMBIASE IS a frequent visitor to the store, and to justify these visits, he buys books. Because Lambiase doesn’t believe in wasting money, he reads the books, too. At first, he had mainly bought mass-market paperbacks—Jeffery Deaver and James Patterson (or whoever writes for James Patterson)—and then A.J. graduates him to trade paperbacks by Jo Nesbø and Elmore Leonard. Both authors are hits with Lambiase, so A.J. promotes him again to Walter Mosley and then Cormac McCarthy. A.J.’s most recent recommendation is Kate Atkinson’s Case Histories.

I dont know what to tell you, he wrote. Much has changed and yet everything is the same. I am the same. I always will be. I’m writing because there are things that I think you would like to know. I am writing because there are things I dont want to forget. Everything is gone from my life except you. I dont even know what that means. There are times when I cant stop crying. I’m sorry. I’ll try again tomorrow

What you write down becomes fixed. It takes on the constraints of any tangible entity. It collapses into a reality estranged from the realm of its creation. It's a marker. A roadsign. You have stopped to get your bearings, but at a price. You'll never know where it might have gone if you'd left it alone to go there.

It’s very fluid, this space between philosophy and literature, and that’s something that resonates for me.

He can neither read nor write and in him broods already a taste for mindless violence. All history present in that visage, the child the father of the man.

Nothing leaves the shop unless it's the best I can do.

He watches, pale and unwashed. He can neither read nor write and in him broods already a taste for mindless violence.

Huddled in her mink in the Kansas City airport, she had a vision of women writing about sex as openly as male writers, but quite, quite differently. Some women would treat sex much as men did,as conquest, as adventure--in a way as McCarthy had. Other women would treat female sexuality far less romantically then men who did not consider themselves romantics, like Hemingway, were wont to. The earth would not move, no, there would be more biology and less theatrics. Women had less ego involvement in sex than men did, but far more at stake economically.

It’s about the possibility, or otherwise, of meaning in the world. And the possibility, or otherwise, of writing. And the possibility, or otherwise, of the resolution of everything into some coherent, cogent vision.

But those words liveoak, pine, the somehow onomatopoeic splendor [sic] of magnolia, still flower greenly in the mind before McCarthy crushes them, and that leaf, which if ash must weigh very little, still lies heavy against the father's hand.

Are you going to kill me? That's what men do. That's what men have always done. They kill and burn and take, and they stuff their ears against the screams but at the end of the day they want to be remembered as good. So they write stories about their shining deeds and all are made to watch and listen and love them.

I’m always thrilled,” wrote Alan Cheuse, emphasizing the novelty and, perhaps, the faint air of slumming that attends the notion of McCarthy’s move to the science-fiction neighborhood, “when a fine writer of first-class fiction takes up the genre of science fiction and matches its possibilities with his or her own powers.

I don't know what to tell you, he wrote. Much has changed and yet everything is the same. I am the same. I always will be. I'm writing because there are things that I think you would like to know. I am writing because there are things I dont want to forget. Everything is gone from my life except you. I dont even know what that means.

Well, he replied, finally letting my hand go so that he could gesticulate with his; you don your khakis, schlep off to some jungle, hang out with the natives, fish and hunt with them, shiver from their fevers, drink strange brew fermented in their virgins’ mouths, and all the rest; then, after about a year, they lug your bales and cases down to the small jetty that connects their tiny world to the big one that they kind of know exists, but only as an abstract concept, like adultery for children; and, waving with big, gap-toothed smiles, they send you back to your study—where, khakis swapped for cotton shirt and tie, saliva-liquor for the Twinings, tisane or iced Scotch your housekeeper purveys you on a tray, you write the book: that’s what I mean, he said. Not just a book: the fucking Book. You write the Book on them. Sum their tribe up. Speak its secret name.

Most Berlin nightclubs aren’t like the American kind. Security is light, rules are lax. Generally there is no bottle service, no VIP section, and, Berghain aside, no velvet rope. In this respect, they bear little resemblance to, say, Studio 54, which, glorious as it may have been, begat a stratified style that metastasized into the models-and-bankers Maybach-and-Cristal rat race that deflected a generation away from the clubbing life in the U.S.

I'd been told before by editors to pare back on violence. This always feels like a gendered suggestion to me - the parameters of what's allowed and what isn't from a female-identifying writer. I can't imagine anyone telling, say, Roberto Bolaño or Cormac McCarthy to ease off on the blood and gore. Women should write in pastel shades about love, domesticity. Leave the hardcore realism to the fellas. Well, fuck that. The fury is there; I had better write it than perform it.

Someone really should write the rest of the story. You know, the cycles that came after the first Arthur? All the way to the end, with your magical sword sticking Nin’s lake into a billion icy bits? Seems like a pretty huge omission if you ask me.” “Actually a pair of twenty-first-century authors came rather close!” Merlin said, skimming through the books and pulling out one with an electric pink, glowing Excalibur on the cover. “They got a few things lopsided, of course. I am a good dancer.

Techno emerged in the early to mideighties in and around Detroit, at the hands of black middle-class DJs who for some reason idealized the glamour and suavity of European electronic pop and Italo disco, as it reached them via GQ and the radio DJ who called himself the Electrifying Mojo. They brought some rigor and a hint of Motown to it and created an industrial-sounding music that was funky, futuristic, and kind of arch—evoking the auto plants that were putting these kids’ parents out of work.

Berlin is to electronic music what Florence was to Renaissance art: crucible, arbiter, patron. Credit for this could go as far back as Bismarck; the city owes its peculiar fertility as much to the follies of statesmen and generals as to any generation of ardent youth. Citizens have spoken and sung for many years of the “Berliner Luft”—“the nervous, endlessly quivering Berlin air,” as Conrad Alberti wrote in 1889, “which works upon people like alcohol, morphine, cocaine, exciting, inspiring, relaxing, deadly.

Underneath all this was a sub layer of fear: the atomic bomb had exploded, the Cold War was on, Joe McCarthy had begun his Red-bashing; it was important to look as normal, as ordinary, as non-Communist as possible. It occurred to me that my parents, once the measure of sanity and reasonableness, might be viewed by others as eccentric; perhaps no worse than harmless loonies, but possibly atheists, or unsound in some other way. I did try to be like everyone else, though I didn't have much idea what 'everyone else' was supposed to be like.

It will be long before everyone is wiped out. People live in war time, they always have. There was terror down through history - and the men who saw the Spanish Armada sail over the rim of the world, who saw the Black death wipe out half of Europe, those men were frightened, terrified. But though they lived and died in fear, I am here; we have built again. And so I will belong to a dark age, and historians will say "We have few documents to show how the common people lived at this time. Records lead us to believe that a majority were killed. But there were glorious men." And school children will sigh and learn the names of Truman and Senator McCarthy. Oh, it is hard for me to reconcile myself to this. But maybe this is why I am a girl - - - so I can live more safely than the boys I have known and envied, so I can bear children, and instill in them the biting eating desire to learn and love life which I will never quite fulfill, because there isn't time, because there isn't time at all, but instead the quick desperate fear, the ticking clock, and the snow which comes too suddenly upon the summer. Sure, I'm dramatic and sloppily semi-cynical and semi-sentimental. But in leisure years I could grow and choose my way. Now I am living on the edge. We all are on the brink, and it takes a lot of nerve, a lot of energy, to teeter on the edge, looking over, looking down into the windy blackness and not being quite able to make out, through the yellow, stinking mist, just what lies below in the slime, in the oozing, vomit-streaked slime; and so I could go on, into my thoughts, writing much, trying to find the core, the meaning for myself. Perhaps that would help, to synthesize my ideas into a philosophy for me, now, at the age of eighteen, but the clock ticks, ah yes, "At my back I hear, time's winged chariot hovering near." And I have too much conscience, too much habit to sit and stare at snow, thick now, and evenly white and muffling on the ground. God, I scream for time to let go, to write, to think. But no. I have to exercise my memory in little feats just so I can stay in this damn wonderful place which I love and hate with all my heart. And so the snow slows and swirls, and melts along the edges. The first snow isn't good for much. It makes a few people write poetry, a few wonder if the Christmas shopping is done, a few make reservations at the skiing lodge. It's a sentimental prelude to the real thing. It's picturesque & quaint.

The arc of the moral universe is indeed long but it does bend toward justice. At the root of all this of course is the trade. As he always calls it. His craft is the oldest there is. Among man's gifts it is older than fire and in the end he is the final steward, the final custodian. When the last gimcrack has swallowed up its last pale creator he will be out there, prefering the sun, trying the temper of his trowel. Placing stone on stone in accordance with the laws of God. The trade was all they had, the old masons. They understood it both in its utility and its secret nature. We couldn't read nor write, he says. But it was not in any book. We kept it close to our hearts. We kept it close to our hearts and it was like a power and we knew it would not fail us. We knew that it was a thing that if we had it they could not take it from us and it would stand by us and not fail us. Not ever fail us.

What you write down becomes fixed. It takes on the constraints of any tangible entity. It collapses into a reality estranged from the realm of its creation. It’s a marker. A roadsign. You have stopped to get your bearings, but at a price. You’ll never know where it might have gone if you’d left it alone to go there. In any conjecture you’re always looking for weaknesses. But sometimes you have the sense that you should hold off. Be patient. Have a little faith. You really want to see what the conjecture itself is going to drag up out of the murk. I don’t know how one does mathematics. I don’t know that there is a way. The idea is always struggling against its own realization. Ideas come with an innate skepticism, they don’t go barreling ahead. And these doubts have their origin in the same world as the idea itself. And that’s not something you really have access to. So the reservations that you yourself in the your world of struggle bring to the table may actually be alien to the path of these emerging structures. Their own intrinsic doubts are steering-mechanisms while yours are more like brakes. Of course the idea is going to come to an end anyway. Once a mathematical conjecture is formalized into a theory it may have a certain luster to it but with rare exceptions you can no longer entertain the illusion that it holds some deep insights into the core of reality. It has in fact begun to look like a tool.

All right. It’s not just that I dont have to write things down. There’s more to it than that. What you write down becomes fixed. It takes on the constraints of any tangible entity. It collapses into a reality estranged from the realm of its creation. It’s a marker. A roadsign. You have stopped to get your bearings, but at a price. You’ll never know where it might have gone if you’d left it alone to go there. In any conjecture you’re always looking for weaknesses. But sometimes you have the sense that you should hold off. Be patient. Have a little faith. You really want to see what the conjecture itself is going to drag up out of the murk. I dont know how one does mathematics. I dont know that there is a way. The idea is always struggling against its own realization. Ideas come with an innate skepticism, they dont just go barreling ahead. And these doubts have their origin in the same world as the idea itself. And that’s not something you really have access to. So the reservations that you yourself in your world of struggle bring to the table may actually be alien to the path of these emerging structures. Their own intrinsic doubts are steering-mechanisms while yours are more like brakes. Of course the idea is going to come to an end anyway. Once a mathematical conjecture is formalized into a theory it may have a certain luster to it but with rare exceptions you can no longer entertain the illusion that it holds some deep insight into the core of reality. It has in fact begun to look like a tool.

There were three great comedians in my formative years—Bill Cosby, Bill Murray, and Richard Pryor—and they wrecked comedy for a generation. How? By never saying anything funny. You can quote a Steve Martin joke, or a Rodney Dangerfield line, but Pryor, Cosby, and Murray? The things they said were funny only when they said them. In Cosby’s case, it didn’t even need to be sentences: “The thing of the thing puts the milk in the toast, and ha, ha, ha!” It was gibberish and America loved it. The problem was that they inspired a generation of comedians who tried coasting on personality—they were all attitude and no jokes. It was also a time when comedy stars didn’t seem to care. Bill Murray made some lousy movies; Richard Pryor and Eddie Murphy made even more; and any script that was too lame for these guys, Chevy Chase made. These were smart people—they had to know how bad these films were, but they just grabbed a paycheck and did them. Most of these comic actors started as writers—they could have written their own scripts, but they rarely bothered. Then, at the end of a decade of lazy comedy and half-baked material, The Simpsons came along. We cared about jokes, and we worked endless hours to cram as many into a show as possible. I’m not sure we can take all the credit, but TV and movies started trying harder. Jokes were back. Shows like 30 Rock and Arrested Development demanded that you pay attention. These days, comedy stars like Seth Rogen, Amy Schumer, Kristen Wiig, Melissa McCarthy, and Jonah Hill actually write the comedies they star in.

I’d met Madison, as I’ve already mentioned, two months earlier, in Budapest. I’d been at a conference. She’d been there with some girlfriends. We’d got talking in the hotel bar. An anthropologist, she’d said; that’s … exotic. Not at all, I’d replied; I work for an incorporated business, in a basement. Yes, she said, but … But what? I asked. Dances, and masks, and feathers, she eventually responded: that’s the essence of your work, isn’t it? I mean, even if you’re writing a report on workplace etiquette, or how to motivate employees or whatever, you’re seeing it all through a lens of rituals, and rites, and stuff. It must make the everyday all primitive and strange—no? I saw what she was getting at; but she was wrong. For anthropologists, even the exotic’s not exotic, let alone the everyday. In his key volume Tristes Tropiques, Claude Lévi-Strauss, the twentieth century’s most brilliant ethnographer, describes pacing the streets, all draped with new electric cable, of Lahore’s Old Town sometime in the nineteen-fifties, trying to piece together, long after the event, a vanished purity—of local colour, texture, custom, life in general—from nothing but leftovers and debris. He goes on to describe being struck by the same impression when he lived among the Amazonian Nambikwara tribe: the sense of having come “too late”—although he knows, from having read a previous account of life among the Nambikwara, that the anthropologist (that account’s author) who came here fifty years earlier, before the rubber-traders and the telegraph, was struck by that impression also; and knows as well that the anthropologist who, inspired by the account that Lévi-Strauss will himself write of this trip, shall come back in fifty more will be struck by it too, and wish—if only!—that he could have been here fifty years ago (that is, now, or, rather, then) to see what he, Lévi-Strauss, saw, or failed to see. This leads him to identify a “double-bind” to which all anthropologists, and anthropology itself, are, by their very nature, prey: the “purity” they crave is no more than a state in which all frames of comprehension, of interpretation and analysis, are lacking; once these are brought to bear, the mystery that drew the anthropologist towards his subject in the first place vanishes. I explained this to her; and she seemed, despite the fact that she was drunk, to understand what I was saying. Wow, she murmured; that’s kind of fucked. 2.8 When I arrived at Madison’s, we had sex. Afterwards,

This is Florida. People here gleefully cake their lawns and golf courses in nitrogen, then wax nostalgic for a time when the springs weren’t clouded over.

The bus was supposed to cross 3,500 miles of pavement (roughly the same distance as a flight from New York to Paris) in about 96 hours.

The guidebooks and placards inside don’t tell you that these sites were created more to influence international opinion than to memorialize the dead.

Chinese clients used to talk only about prices and vintages, not what was in the bottle. Now the important thing is not how much money you have but how you express it in wine knowledge.” Tim Weiland, former general manager of the exclusive Aman at Summer Palace in the emperor’s onetime retreat in Beijing, suggests that the image of China’s wealthy class as crass nouveau riche—mixing expensive Bordeaux with Coca-Cola, for example—is entirely out of date. “The nouveaux riches of ten years ago are now the old rich,” he says. “They have homes in Switzerland and Aspen, they’re incredibly sophisticated and well traveled—much more well traveled than I am—and they know their wines.

the S-21 prison, the infamous detention and torture center where he’d aided in documenting the 14,000 people who came through the facility, only 7 of whom survived.

If North Korea were The Hunger Games, Pyongyang would be the Capitol: a place reserved for the elite to enjoy good food, nice clothes, and electricity. Out in the districts, the people have nothing.

Except for Lisbon, Berlin is the cheapest capital in Western Europe. This despite being the capital of the Continent’s richest country. Its population is still lower than it was at the outset of the Second World War. It’s a little like a mountain town with ski bums and trustafarians cycling through. The kids come to play, not to stay.

Smaller than Delaware, packed with 2.7 million people, the core of a proposed future Palestinian state, the occupied West Bank is partitioned by the Oslo Accords into zones of Palestinian and Israeli control: Areas A, B, and C. Each of the zones has its own restrictions, guidelines, regulations. A political map of the territory looks like an X-ray: a diseased heart, mottled, speckled, clotted, hollowed out.

It’s a blessing and a curse, being in this place of comfortable marital security. On one hand, you’ve got someone who will come right out and tell you if you have broccoli in your teeth or if you neglected to apply enough deodorant, somebody who will lie to you and tell you that you don’t need a face-lift and that he can see the triceps muscles you’ve been working diligently to unearth, somebody who’s seen you naked on numerous occasions without laughing or cringing or running screaming into the next room. On the other hand, you also have evenings out that look like this: [Sitting at a stoplight on the way to dinner.] ME: What are you doing? JOE: I’m trying to [yank] pull out [tug] this three-inch [rip] nose hair. Where did it come from, anyway? Damn it, I can’t get it. Hey, your fingers are smaller, and you have nails. Can you grab it? ME: You want me to pull your nose hair out? JOE: Well, I can’t sit there at dinner with it just hanging out like this. You didn’t notice it before we left? ME: I was very busy trying to squeeze into these Spanx, thank you very much. I think I have manicure scissors in the glove box. [Finds scissors, hands them to Joe. The light turns green.] JOE: Hold the wheel while I do this. ME: I don’t think this is such a great idea. [Joe sticking scissors tips up his nose and snipping randomly; Jenna gripping steering wheel with white knuckles.] JOE: Shit, I can’t see it without my cheaters. You do it. ME: Honey, I would rather not stick scissors up your nose while you’re driving. I’ll do it when we get to the restaurant. And, of course, I did, because it turned out Joe forgot his reading glasses* (which always makes for a fun and romantic game of “Wait, Read Me the Entrée Specials Again” at restaurants) so he simply couldn’t. “You’re going to write about this,” Joe accused me as I stashed my manicure scissors back in the glove box. “Are you kidding me?” I asked, offended. “Of course I’m going to write about this! This shit is comedy gold right here.” Like I said, the man knows me inside and out.

At time of writing, the National Education Standards and Improvement Council, set up by the Clinton Administration,61 is due to prescribe what students in grades five through twelve are supposed to know about American history. Not a single one of the thirty-one standards set up mentions the Constitution. Paul Revere is unmentioned; the Gettysburg address is briefly mentioned once. On the other hand, the early feminist Seneca Falls Declaration of Sentiments receives nine notices. Joseph McCarthy is mentioned nineteen times; there is no mention of the Wright brothers, Thomas Edison, Albert Einstein, Robert E. Lee; Harriet Tubman receives six notices. The Ku Klux Klan is mentioned seventeen times; the American Federation of Labor comes up with nine appearances. The role of religion, especially Christianity, in the founding and building of the nation is totally ignored; the grandeur of the court of Mansa Musa (King of Mali in fifteenth-century Africa) is praised, and recommended as a topic for further study.62 Such standards are linked in the minds of many with “outcome-based-education” (OBE). If the “outcomes” were well balanced and not less than thoroughly cognitive (though hopefully more than cognitive), there would be few objections. But OBE has become a lightening-rod issue precisely because in the hands of many it explicitly minimizes cognitive tests and competency skills, while focusing much more attention on attitudes, group conformity, and the like. In other words, granred the postmodernism that grips many educational theorists and the political correctness that shapes their values, this begins to look like one more experiment in social engineering.

William Blake wrote, “He who would do good to another must do it in Minute Particulars,

Put makes us keep a record of every two-cent stamp we buy. He got me a little pocket notebook, like his, for my birthday, to write down items like subway fares so I can transfer them at night to the budget. We do the accounts every night, before we go to bed. That way, we know where we are every day, and if we spend too much one day, we can economize on the next. All I have to do is look at the graph. Put’s very visual. Tonight I’ll be short a nickel—the one I used to call you. He’ll take me back, step by step, over my day and say, ‘Visualize what you did next,’ till he can locate that nickel. He’s nuts about accuracy.” A brief sigh followed this eulogy, which had caused Helena’s eyebrows to rise in disapproval; she had been given her own bank account at the age of ten and taught to keep her own check stubs. “Let me supply the nickel,” she said, opening her pocketbook.

If Trump had followed the example of his predecessors and conceded power graciously and peacefully, he would have been remembered as a disruptive but consequential populist leader who, before the coronavirus pandemic, presided over an economic boom, reoriented America’s opinion of China, removed terrorist leaders from the battlefield, revamped the space program, secured an originalist majority on the US Supreme Court, and authorized Operation Warp Speed to produce a COVID-19 vaccine in record time. Instead, when historians write about the Trump era, they will do so through the lens of January 6. They will focus on Trump’s tortured relationship with the alt-right, on his atrocious handling of the deadly Charlottesville protest in 2017, on the rise in political violence during his tenure in office, and on his encouragement of malevolent conspiracy theories. Trump joined the ranks of American villains from John C. Calhoun to Andrew Johnson, from Joseph McCarthy to George Wallace.

Boy,” she spat. “Are you going to kill me? That’s what men do. That’s what men have always done. They kill and burn and take, and they stuff their ears against the screams, but at the end of the day they want to be remembered as good. So they write stories about their shining deeds and all are made to watch and listen and love them.

Solitude in the outdoors was surely all the more healing for those of us who had not only the physical and moral pollution of industrialized society to escape, but also the incessant chatter of everyone we have ever known running constantly across our screens and phones.

Kapuściński’s masterpiece, The Soccer War, when he writes: “There is so much crap in this world and then, suddenly, there is honesty and humanity.

set in motion a decade of wandering that rewrote how I experienced the world. Travel became not so much about the destination as an end but a means of understanding myself in that place. The world became my university campus.

Travel is often a petri dish for both our character defects and our finer qualities, and in this moment my baser attributes had me in their clutches.

Travel, I was convinced, was not something frivolous, to be indulged in merely by the idle or the wealthy or the unshowered backpacker. It was something worth fighting for. Travel changed my life; it could change yours. Travel mattered: that was my message.

It ought never to be forgotten that travel can be a revelation, offering the very real possibility of recaptured innocence to our jaded eyes. The paradox of travel’s effort is the renewal it affords.

the importance of setting out, a call to the open road and its possibilities, lessons, heartbreaks, and occasional joys—a reaffirmation of the value of the investment required to leave the safety of shore. As yet unknown riches await the bold.

Frederic Morrow, adviser to the Commerce Department and later the first Black man to hold an executive position at the White House, commented that most of the white secretaries in the office steno pool refused to work for him, even as he was routinely insulted and sidelined by the administration supposedly soliciting his opinion. He would go on to become the first Black vice president of Bank of America and write several books, including Black Man in the White House. Claire’s other employer, Senator Margaret Chase Smith from Maine, is an equally impressive historical figure. A lone voice to speak out on the Senate floor against McCarthy, she delivered the famous Declaration of Conscience outlining four basic principles of Americanism: the right to criticize, to hold unpopular beliefs, to protest, and to hold independent thought. An enraged McCarthy did his best to destroy her, but she outlasted him, remaining a senator until 1973. It was remarked that if a man had delivered the Declaration of Conscience, he would have been the next president. Arlene

for such nuance, and he knew that being dissociated from schizophrenia merely by degree could be fatal for his credibility. There was nothing he could do, though, so he rose again from the couch, muted the TV, and elected to do the only productive thing he could think of. With a new-found determination, Dan fetched the folder from under his bed and lifted out the unreadable German letter. All of the talk about wartime activity led Dan to think that this letter might be from the 1940s. It would almost explain the stupid writing, he thought. With that in mind he ran each of the letter’s pages through his scanner and looked at the images on his computer, zoomed to a size that helped him identify some of the calligraphic touches as particular letters. The first complete word Dan found — aided initially by the umlaut — was, ominously, Führer. He then successfully identified a few more words from the first page, becoming quite good at spotting instances of “ein” and “eine”. Further progress was hard to come by, though, and Dan soon couldn’t help but feel like he was running through treacle; getting nowhere despite applying himself totally. Dan looked at the time in the top corner of his computer’s screen and did a double take when he saw that more than 90 minutes had passed since he turned it on. He saved his annotated progress and decided to call it a night. The computer chimed as it powered off, which struck Dan as odd, but he shrugged it off. As he walked to turn off the TV — now replaying Billy Kendrick’s tenacious interview from immediately after Richard’s press conference — Dan heard the chime again. Doorbell, he realised. Dan stayed still. In the unlikely event that Mr Byrd had come to check on him this late, he would say so. He usually called through the door. No voice came. After a long gap that left Dan thinking that the caller had gone, he heard three rushed knocks on the window. “Dan McCarthy,” the visitor shouted at the glass. The high-pitched voice sounded vaguely familiar but was heavily muffled by the window. Beginning to realise that the visitor wasn’t going away any time soon, Dan walked towards the door. When he got there he heard footsteps on the other side, and then someone lowering themselves to the ground. “Dan McCarthy!” a chirpy voice called through the gap at the bottom of his door. He recognised it now. After a few seconds, Dan opened the door and saw a smartly dressed young woman crouched to the ground with her head on his doormat. She jumped to her feet, smiling warmly. “Dan McCarthy,” she said, holding out her hand. “Emma Ford. From the phone, remember?

McCarthy’s headline hunting also benefitted from the culture of journalism at midcentury: that the job of a journalist was to report the content of a statement, not to assess its validity. “My own impression was that Joe was a demagogue,” one journalist of the era observed. “But what could I do? I had to report—quote—McCarthy. How do you say in the middle of your story, ‘This is a lie’? The press is supposedly neutral. You write what the man says.” Walter Lippmann defended the press in similar terms. “McCarthy’s charges…are news which cannot be suppressed or ignored,” Lippmann wrote. “They come from a United States senator and a politician…in good standing at the headquarters of the Republican Party. When he makes such attacks against the State Department…it is news which has to be published.

I’m a refugee who can vote.

Then in January 1980, on The Dick Cavett Show, McCarthy repeated her most comprehensive charge about Hellman’s lies: ‘I once said in an interview that every word she writes is a lie, including “and” and “the”.’ Hellman was watching. Her fury and her taste for litigation overcame her prudence. She began a suit for $2,225,000 in damages, and pursued it with great persistence and vigour. What followed was a classic proof of the contention that to sue for defamation merely draws attention to the charge.

I remain steady in my belief that well-written literary fiction doesn’t have to be high-brow; it has to embrace ideas about destiny in a storyline that holds the readers’ attention. From his classic presentation at the 200th anniversary writers’ conference of North American Review, the nation’s oldest literary magazine, where he poked fun at his own early novels for their obscurity, implying clarity in the digital age equals salvation. Then he toyed with the digital age itself: Some nut will find a way to blow up the electric grid. All these electronic gadgets that rely on electricity will go dark. The batteries will run down. We’re talking Cormac McCarthy darkness, black on black . . . except for one distant flicker of light. It’s on a beach probably Australia. Survivors will make their way through the dark and find the light from a single candle. Next to the candle will be a lad with a note book scribbling away with the last pencil on earth. He’s writing about what happened. He hopes someone will read what he writes. That’s what writers do. They hope.

It’s no coincidence that the style of writing known as stream of consciousness was pioneered by Irish authors. Critics have missed the point, however, in regarding it as a radical, experimental reaction against literary convention. For many Irish people, the avant-garde monologue is the most commonplace form of everyday speech; and a very liberating thing it is too. Like the best kind of journey, it’s always liable to veer off in entirely unexpected directions and lead you to destinations you might never otherwise have considered.

In the novel All the Pretty Horses, Cormac McCarthy writes that the body's scars have the capacity to remind us that our past is real. It is an ancient practice among friends and lovers to study and compare scars, because they provide clear physical evidence of past events, and establish a link between then and now.