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All the Pretty Horses (Border Trilogy (Pb)) School & Library Binding – June, 1993

ISBN-13: 978-0785727835 ISBN-10: 0785727833

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School & Library Binding, June, 1993
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Product Details

  • Series: Border Trilogy (Pb) (Book 1)
  • School & Library Binding: 301 pages
  • Publisher: San Val (June 1993)
  • Language: English
  • ISBN-10: 0785727833
  • ISBN-13: 978-0785727835
  • Product Dimensions: 8.3 x 5 x 0.9 inches
  • Shipping Weight: 12.8 ounces
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (600 customer reviews)
  • Amazon Best Sellers Rank: #3,668,773 in Books (See Top 100 in Books)

Editorial Reviews

Amazon.com Review

Part bildungsroman, part horse opera, part meditation on courage and loyalty, this beautifully crafted novel won the National Book Award in 1992. The plot is simple enough. John Grady Cole, a 16-year-old dispossessed Texan, crosses the Rio Grande into Mexico in 1949, accompanied by his pal Lacey Rawlins. The two precocious horsemen pick up a sidekick--a laughable but deadly marksman named Jimmy Blevins--encounter various adventures on their way south and finally arrive at a paradisiacal hacienda where Cole falls into an ill-fated romance. Readers familiar with McCarthy's Faulknerian prose will find the writing more restrained than in Suttree and Blood Meridian. Newcomers will be mesmerized by the tragic tale of John Grady Cole's coming of age. --This text refers to an out of print or unavailable edition of this title.

From Publishers Weekly

Muller's straightforward, unembellished reading suits the spare drama of McCarthy's acclaimed novel, which has recently been released as a movie as well. John Grady Cole and his pal Lacey Rawlins set off on horseback for Mexico in the late 1940s in search of work and adventure. Along the way they are joined by another man, named Blevins. On a hacienda in Mexico, Cole displays his uncanny gift for working with horses, and he and Alejandra, the beautiful daughter of the hacienda's owner, fall in love--a love that is displeasing not only to Alejandra's father but also to her imperious but not unsympathetic great aunt. Muller's accent in conveying Mexican voices is as convincing and unforced as his others, and he evokes equally well a distinctive personality for each character--the laconic and stalwart Cole; the more emotional and impatient Rawlins; Blevins with his concomitant braggadocio and fear--and yet this tale is perhaps not best suited to the unabridged audio format. Long stretches of text convey slow-moving action or no action at all, but rather McCarthy's lush evocation of the wild landscape. Listeners may opt for the abridged audio version of this National Book Award winner.

Copyright 2001 Cahners Business Information, Inc.

--This text refers to an out of print or unavailable edition of this title.

More About the Author

Cormac McCarthy was born in Rhode Island. He later went to Chicago, where he worked as an auto mechanic while writing his first novel, The Orchard Keeper. The Orchard Keeper was published by Random House in 1965; McCarthy's editor there was Albert Erskine, William Faulkner's long-time editor. Before publication, McCarthy received a traveling fellowship from the American Academy of Arts and Letters, which he used to travel to Ireland. In 1966 he also received the Rockefeller Foundation Grant, with which he continued to tour Europe, settling on the island of Ibiza. Here, McCarthy completed revisions of his next novel, Outer Dark. In 1967, McCarthy returned to the United States, moving to Tennessee. Outer Dark was published by Random House in 1968, and McCarthy received the Guggenheim Fellowship for Creative Writing in 1969. His next novel, Child of God, was published in 1973. From 1974 to 1975, McCarthy worked on the screenplay for a PBS film called The Gardener's Son, which premiered in 1977. A revised version of the screenplay was later published by Ecco Press. In the late 1970s, McCarthy moved to Texas, and in 1979 published his fourth novel, Suttree, a book that had occupied his writing life on and off for twenty years. He received a MacArthur Fellowship in 1981, and published his fifth novel, Blood Meridian, in 1985. All the Pretty Horses, the first volume of The Border Trilogy, was published by Knopf in 1992. It won both the National Book Award and the National Book Critics Circle Award and was later turned into a feature film. The Stonemason, a play that McCarthy had written in the mid-1970s and subsequently revised, was published by Ecco Press in 1994. Soon thereafter, Knopf released the second volume of The Border Trilogy, The Crossing; the third volume, Cities of the Plain, was published in 1998.McCarthy's next novel, No Country for Old Men was published in 2005. This was followed in 2006 by a novel in dramatic form, The Sunset Limited, originally performed by Steppenwolf Theatre Company of Chicago and published in paperback by Vintage Books. McCarthy's most recent novel, The Road, was published in 2006 and won the Pulitzer Prize.

Photo © Derek Shapton

Customer Reviews

His use of the language is poetic, descriptive, and unique.
C. B Collins Jr.
This is a great book and Cormac McCarthy is among the greatest novelists of our time.
Duross Fitzpatrick
Beautiful writing, wonderful characters, superb plot and story line.
Peggy Vincent

Most Helpful Customer Reviews

213 of 218 people found the following review helpful By Mike Smith on April 4, 2006
Format: Hardcover
Here are three amazing books, and one amazing saga, all together in one brimming volume you can throw into a backpack.

The first novel, "All the Pretty Horses" is one of the most beautifully told stories I've ever read. Not only is the writing here packed with imagery, and the story one of McCarthy's most accessible, but the textures of the words used to describe the images are as lush and as enfolding as anything F. Scott Fitzgerald ever wrote--even when McCarthy's describing the driest of desert plains, the most desolate of ruins, or the emptiest of lives.

The book tells the story of two young friends who leave home in 1948 Texas to ride south into northern Mexico in search of SOMETHING. What happens along the way is tragic and amusing, lovely and gripping, real and amazing. McCarthy seems to paint every scene perfectly, yet he does so using the fewest amount of words possible, and the simplest of details.

"The gray and malignant dawn." "Stars falling down the long black slope of the firmament." "The shelving clouds." "Their windtattered fire." "Narrow spires of smoke standing vertically into the windless dawn so still the village seemed to hang by threads from the darkness."

Long sentences shroud the reader in the events of every scene, and the author's trademark quote-sign-less dialogue gives every conversation a very biblical feel.

The trilogy's second book, "The Crossing" has only thematic and geographical elements in common with the first. The story deals with a completely different character, Billy Parham, a son in a late-1930s New Mexican ranching family. Billy traps a wolf that has been killing his father's cattle but realizes he morally can't kill it and has to return it to its home in the mountains of old Mexico.
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176 of 188 people found the following review helpful By Gary Griffiths VINE VOICE on November 19, 2005
Format: Paperback Verified Purchase
You read the first sentence of a Cormac McCarthy novel and you know that this is not Grisham or Connolly or Child or Crichton or King, certainly not Patterson, or anyone else writing fiction today. And before the first page is turned he has launched into one of his frenetic poetic riffs that lurches and rambles and stops and starts and doesn't care about punctuation and you can almost hear your high school English teacher scolding about grammar and run-on sentences but you know that she could never even hope to string words together like this even if she dared. And then you realize that maybe you've actually never really understood the English language at all because no one before has ever ripped it and bent it and twisted it as beautifully as McCarthy does while making it all look so easy.

So were it not for McCarthy's ferocious prose, "All the Pretty Horses" may have been just another coming of age story. But in McCarthy's special corner of hell, along with the obligatory introduction to "young love", passage to adulthood may include exile in a foreign country, being hunted on horseback across a barren desert, variously stabbed, shot, tortured, or imprisoned. John Grady Cole is a sixteen year-old son of a Texas rancher who, up until his grandfather's death, worked the ranch and developed an uncommon kinship with horses. With his grandfather gone, his father dying, and his mother flitting around the cultural scene in post-WWII San Antonio, John Grady sets out on horseback for Mexico with buddy Lacey Rawlings.
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122 of 132 people found the following review helpful By Duross Fitzpatrick on August 3, 2000
Format: Hardcover
These three novels should establish Cormac McCarthy as a worthy inheritor of the mantle worn by William Faulkner. The first, All The Pretty Horses is probably the best because it introduces John Grady Cole, who should join the ranks of legendary fictional heroes. His story is concluded in Cities of the Plain the last of the trilogy which contains an account of a knife fight that is almost unbearable in it intensity. The second novel,The Crossing is in my opinion, the weakest of the three,although the first 100 or so pages which describe the relationship between a boy and a wolf he has trapped is as good as anything in the trilogy. McCarthys description of ranch life on the New Mexico-Mexico border in the 1940s and early '50s is so pure that one can almost feel the icy wind as it cuts through the characters as they ride south to meet their fate in old Mexico. This is a great book and Cormac McCarthy is among the greatest novelists of our time.
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84 of 94 people found the following review helpful By Seth M. Packham on June 27, 2000
Format: Hardcover
I've read the entire Border Trilogy at least three times now, and I've read each of McCarthy's other novels at least once. Now, I'm dying to see what he writes next.

The language is lyrical and poetic, sometimes short and choppy in the language of McCarthy's young cowboy protagonists, sometimes long and surreal in his descriptions of horses, landscape, and dreams. The language finally emerges as a living character of the novel, equally shaping the narrative and its power, separate from the plot line and journey motif.

His storytelling ability is unmatched as he weaves storytelling characters into the bildungsromanesque journeys of John Grady Cole and Billy Parham. These interlocutors relate intricate stories that allow us to witness tales being both told and witnessed, creating a double effect on us through our connectivity to the characters. McCarthy uses his own wonderful narrative to reflect on the power of the narrative event and the act of storytelling. He truly raises the standard for today's writers, for not only does his language transcend the pitter-patter of most so-called literature, his ability to weave marvelous stories and reflect on his role as narrator makes him a writer worth reckoning with. In fact, I just completed a thesis based on this set of three novels for my MA in English at BYU. Read them in order, or read them separately, "All the Pretty Horses" will draw you in with its sometimes intense sometimes comical language and bloody violence. "The Crossing" will captivate you in its complexity and depth, as well as its realistic, terribly moving portrayal of a young man alone and lonely. Finally, "Cities of the Plain" will make you laugh and cry as the protagonists are brought together in a domestic setting and move toward their destinies, each preset by McCarthy himself.

Read everything he has written. You will ache for more.
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