"I think if you were Satan and you were settin around tryin to think up somethin that would just bring the...

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	• No Country for Old Men (Vintage International) Cormac McCarthy Vintage, 2007 - 320 pages average customer review:based on 401 reviews view larger image
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highly recommended

Blood chilling

The story kicks off with Moss, who accidentally stumbles upon the scene of a drug deal gone bad while out hunting, and discovers bodies everywhere as well as a case containing $2.4 million. Moss takes off with the case, setting off a pursuit by Bell, an old sheriff who is trying to catch the bad guys but also trying to keep Moss out of harms way, as well as by Chigurgh, a hit man who is relentlessly tracking Moss to get the money back and to enforce his own evil code of justice.

I am conflicted about this book and struggling to explain why. Just coming off reading The Road (which I loved) and anticipating the movie made by the Coen Brothers, my expectations were high. Perhaps too high. While I loved the sparse, bullet fire narrative style, I grew weary of Bell's reflections. I found parts of the book to be brilliant and riveting, while others bored me. Portions of the book were well developed, while others dropped me flat with little to no explanation as to what just happened. I might need to go back and re-read the book, perhaps skipping Bell's prose which dragged on for pages. Chigurh is certainly fascinating, if not blood chilling. I will never look at a coin toss in the same way. Did I like this book? I'm really not sure. It certainly is not for everyone. But it continues to haunt me, that's for sure.

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A little tricky.

This books was really good. The only cons about it are the quotes, or I should say lack there of. The book has absolutely no quotes to indicate dialog. This took me some getting use to. But all in all I'm glad I stuck it through, it turned out to be a decent read from an author I will definitely try again. It just lost one star because of the punctuation problems. Happy Reading!

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"ANY TIME YOU QUIT HEARIN SIR AND MAM THE END IS PRETTY MUCH IN SIGHT"

Anarchy. Drugs. Gang violence. Desperation. No Country For Old Men resonates with today's times and for those, like Sheriff Bell, that can't wrap their mind around the meaningless chaos in today's papers. This book is loaded with wisdom and introspection beyond a solid suspense novel and deserves all the accolades it has recieved.

This is also a rare instance where the movie is as good as the book. The Coen Brothers captured McCarthy's nihilistic world.

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A Man Could Lose His Soul...

Man finds lots of money. Man runs, is pursued. Many casualties ensue.

I came to McCarthy by way of The Road (Oprah's Book Club), which was one of the most profoundly moving things I've read in fifteen years; I find myself thinking of that book and its setting, questions and issues almost daily. Through it I became aware of McCarthy's other work, and was eager to get to it. Then came the Coen brothers' brilliant No Country for Old Men, and I had to move this up in the reading queue. I did save the film until after I was done with the book, and I'm glad I did; this is better.

As in The Road, there are many unanswered questions about aspects of the story off the main narrative line--who did what, where characters and events came from, where they go, what happens next, etc. They are tantalizing, an aspect I have found that keeps McCarthy's work in my head, sorting through the unexplained, wondering in which way these superfluous stories could have gone. They are a great hook, providing tangential snippets of context to a circuitous, unpredictable yet headlong single story line.

This story is deceptive, beginning as a very west Texas noir tale of adventure. I was reminded of James Dickey's magnificent DELIVERANCE (BLOOMSBURY FILM CLASSICS S.). But while Deliverance was Dickey's rumination on what exactly it means to be a man in the age of the office job, Lay Z Boy recliners and strip malls, McCarthy posits a much more simple question: are you ready to be a man when the time comes?

When Life--with that capital L--comes at you and delivers unbidden the horrific, tragic or sublimely blissful, will you be ready? Can you make yourself ready; is there any way to prepare? And if you think you're ready, are you really? McCarthy asks: what have you done, and in the same breath, what have you not done? What have you overlooked, and what--this is crucial--happens to you and others depending on how ready you are? What are you prepared to do? How far will you go?

Being ready means being prepared to act instantly, outside of cultural and societal norms, against your upbringing and your education, at the most basic level, not unthinkingly, but unflinchingly and uncompromisingly. Can you strip it all away, and if you do what does that make you? Can you come back?

This is where a man can lose his soul. Both The Road and this work make it clear that there is a point where a man chooses to keep or forfeit his humanity, his dignity, when he chooses decency over barbarism. McCarthy's exploration shows that when the choice--made consciously--is for dignity and righteousness, ultimately it is self-destructive.

McCarthy's work has a place for those who hold on to that uniquely human core of decency, who see what really needs to be done, the ugly and brutal which may need to be done for survival, and in essence condemn themselves, usually wittingly, by remaining true to decency and the care/service of others. Death is coming for us all, only a matter of time, so why not take a stand and choose your time and place, and do it with a self-determined honor, with a clean slate? There may be a reckoning--that's really as far as I see McCarthy going down that road of Good v. Evil, God v. Satan--but if there is, these decisions will tip that scale, and for those that remain behind you live on as an example of the right choice.

The book's style is sparse, matching the desert and scrubland the story inhabits. McCarthy's narrative convention of not using quotations is here, but is neither a distraction nor does it lend to confusion. The narrative structure is essentially cinematic, with the sheriff-narrator providing a voiceover context, the real depth of the story, and the chapters often moving in parallel. The dialog flows as easily and effortlessly as Elmore Leonard's best, and there is no question as to what is happening in the narrative.

Surprisingly, the "action," the main story, was done well before the book was. The bulk of the book and the story of money, guns and blood exists as the extended setup for one man's rumination on life's purpose, the existence of God, and what it means to be true to yourself, those you love, and those you serve. This is the last 40-odd pages of the book, and where the deepest contemplation lies. There is a lot going on here, with a lot of to my reading earnest exploration of a man's purpose, his honor, his character, and ultimately his identity. Is God out there? And if he is, and if he's the kind of guy we've all been told he is, how is it that life plays out in these ways?

Bottom line: This is no happy, light and frothy, stereotypically inane TV-style read of a luckless loner who makes good after some minor tribulation. The story is stark and dark, violent and unflinching, just as life is. McCarthy poses a pessimistic vision of where we are and where we are headed, and explores whether the noble choice of decency and selflessness is tenable, even though it seems to be suicidal.

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"I think if you were Satan and you were settin around tryin to think up somethin that would just bring the human race to its

knees what you would probably would come up with is narcotics."

Thirty-six year old welder Llewelyn Moss stumbles upon a grisly crime scene, obviously drug-related, in south Texas while out hunting one day. The lone survivor, barely breathing, asks him for water. Without obliging, Moss follows a blood trail to yet another casualty who happens to be in possession of a briefcase filled with millions in cash. He takes the money and runs, hides the dough, and returns to the scene, presumably to take care of the near-dead man. Moss realizes he's in a heap of trouble when he discovers that the last man standing (actually, sitting) has since been murdered. Several players want his money and his life, including the ruthless, vindictive Anton Chigurh and a seemingly reasonable hired hit man, Carson Wells. Sheriff Bell, within whose jurisdiction the drug deal went bad, rounds out the cast of major characters as the primary law enforcement officer on the case. Lots of blood, many lives, and this reader's interest are lost before it ends. Although McCarthy's unusual writing style is always a welcome diversion from the usual, the story continues beyond what is necessary, the angle involving Sheriff Bell is not very interesting and the point, if there was one, never became clear. No Country for Old Men was by far my least favorite of the three novels of his I've read. Much better: The Road by Cormac McCarthy and Homicide by David Simon.

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reviews: 1, 2, 3, 4, page 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

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