UNIVERSITY OF ESSEX DEPARTMENT OF LITERATURE, FILM, AND THEATRE STUDIES “A CREATURE THAT CAN DO ANYTHING”: HUMAN NATURE, VIOLENCE AND SURVIVAL IN CORMAC MCCARTHY’S ‘CHILD OF GOD’, ‘BLOOD MERIDIAN’ AND ‘THE ROAD’ By Charlotte Page Submitted in partial fulfilment of the requirements for the award of degree of MA in English Language and Literature. In accordance with Regulation 6.6 I certify that I have acknowledged any assistance or use of the work of others in my dissertation for the MA in English Language and Literature. (Signed) ......................................... Academic Year ...2013-14..........................
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UNIVERSITY OF ESSEX
DEPARTMENT OF LITERATURE, FILM, AND THEATRE STUDIES
“A CREATURE THAT CAN DO ANYTHING”: HUMAN NATURE, VIOLENCE AND
SURVIVAL IN CORMAC MCCARTHY’S ‘CHILD OF GOD’, ‘BLOOD MERIDIAN’ AND
‘THE ROAD’
By
Charlotte Page
Submitted in partial fulfilment of the requirements for the award of degree of MA in English
Language and Literature.
In accordance with Regulation 6.6 I certify that I have acknowledged any assistance or use of
the work of others in my dissertation for the MA in English Language and Literature.
Academic Year ...2013-14..........................
“A CREATURE THAT CAN DO ANYTHING”: HUMAN
NATURE, VIOLENCE AND SURVIVAL IN CORMAC
MCCARTHY’S CHILD OF GOD, BLOOD MERIDIAN AND
THE ROAD
ABSTRACT
“A CREATURE THAT CAN DO ANYTHING”: HUMAN NATURE, VIOLENCE
AND SURVIVAL IN CORMAC MCCARTHY’S CHILD OF GOD, BLOOD
MERIDIAN AND THE ROAD
Human nature, violence and survival are all dominant themes explored within the works of
Cormac McCarthy. This dissertation specifically focuses on three of McCarthy’s novels in
relation to these themes: Child of God (1973), Blood Meridian, or The Evening Redness in
the West (1985) and The Road (2006). McCarthy’s worldview will be explored through these
novels which span both his writing career and his Southern Gothic, Western and post-
apocalyptic genres. Each of the novels share similarly bleak views of the human race, where
the fight for survival results in extreme violence and reveals the darkest aspects of human
nature. Although McCarthy makes evident the profound darkness of humankind in all three
of these texts, and indeed in his entire corpus, it will be argued that humanity, although
largely depraved, is not yet irredeemable. McCarthy’s worlds are undoubtedly damaged, but I
propose that hope for the human race can still be found in a few characters who demonstrate
that human goodness can exist amongst brutality. Whereas early scholarship tends to
comprise of nihilistic views, I aim to disprove the notion that McCarthy’s novels are hopeless
and morally devoid. Hope, however small or fragile, can be found in Child of God, Blood
Meridian and especially The Road.
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS
INTRODUCTION: Human Nature, Violence and Survival in Cormac McCarthy’s 1
Child of God, Blood Meridian and The Road
CHAPTER 1: “A Place for Meanness”: Child of God 5
CHAPTER 2: “Men of War”: Blood Meridian 16
CHAPTER 3: “Carrying the Fire”: The Road 27
CONCLUSION: Finding Hope for Humankind in Cormac McCarthy’s Novel’s 38
BIBLIOGRAPHY 45
ACKNOWLEDGEMENTS
Throughout the writing of this MA dissertation I have received help and support from
many people. Above all, I am profoundly indebted to my supervisor Dr Owen Robinson, who
has given me much assistance, providing many thoughtful suggestions and important advice.
I am extremely appreciative of both his knowledge and generosity with his time. Without his
supervision and constant guidance this dissertation would not have been possible. I would
also like to thank my family, friends and colleagues who have vitally given me their full
support during this period of study. Finally, I gratefully acknowledge the help I have received
from the staff of both the Department of Language and Linguistics and the Department of
Literature, Film, and Theatre Studies for providing essential assistance during my time of
study.
1
INTRODUCTION
HUMAN NATURE, VIOLENCE AND SURVIVAL IN CORMAC MCCARTHY’S
CHILD OF GOD, BLOOD MERIDIAN AND THE ROAD
When God made man the devil was at his elbow. A creature that can do anything. Make a
machine. And a machine to make the machine. And evil that can run itself a thousand years,
no need to tend it.
– CORMAC MCCARTHY, Blood Meridian
In Cormac McCarthy’s second novel Outer Dark (1968), the tinker criticises the world
and reveals his resentment of humankind to Rinthy. “I’ve seen the meanness of humans,”1 the
tinker says to her and when Rinthy becomes frustrated and warns him “you won’t never have
no rest ... not never,” he replies with “nor any human soul” (194). The enduring “meanness”
of humankind is commonly found throughout McCarthy’s corpus and his fiction is inundated
by the most evil of beings. In McCarthy’s depraved literary worlds where war, murder,
necrophilia and cannibalism are commonplace, the tinker’s hopeless view of the human race
not only appears to be plausible, but also disturbingly true.
Although McCarthy’s fictional universes depict extreme violence and bloodshed and make
it considerably easy for readers to share the tinker’s pessimistic views regarding humankind, I
believe that hope in the human race, however small, can still be found in all of McCarthy’s
novels. Whereas a large amount of previous scholarly work, especially early interpretations,
have focused on the abundance of inhumanity in McCarthy’s novels, this study will juxtapose
the copious brutal human behaviour present in McCarthy’s fiction with the sparse, yet
enormously significant presence of humanity. Indeed, humanity in the form of compassion
and kindness is easily overlooked in McCarthy’s texts, mainly because most readers, at least
on a first reading, are overwhelmed by the extreme darkness with which McCarthy permeates
the human race. However, McCarthy’s worlds are not bereft of human goodness and
1 Cormac McCarthy, Outer Dark (New York: Vintage International, 1993), 192. Subsequent page references in
text.
2
examples such as the father’s devotion to his son in The Road (2006) suggest that good
qualities may be inherent in human nature, as well as bad. Consequently, I intend to disprove
nihilistic views which propose that McCarthy’s works are morally devoid and populated only
by ruthless characters.
The chapters that follow examine how McCarthy explores the interrelated themes of
human nature, violence and survival, themes which unite all of his novels. Each chapter looks
especially closely at one of McCarthy’s texts. Broken down into three chapters, then, this
study provides specific insight into three of McCarthy’s works: Child of God (1973), Blood
Meridian, or The Evening Redness in the West (1985) and The Road. Consequently the
development of McCarthy’s worldview will be explored chronologically through these three
novels which span both his writing career and his Southern Gothic, Western and post-
apocalyptic genres. It is hoped that in examining novels which extend over McCarthy’s
writing career and cover each of his genres, interesting comparisons will be made. The
chapters particularly focus on the depravity of McCarthy’s fiction and question whether any
trace of humanity can be salvaged from worlds in which the fight for survival reveals that
violence is seemingly a dominant characteristic shared by most humans, exposing the worst
aspects of human nature.
The first chapter looks at one of McCarthy’s earliest publications: Child of God. This
chapter examines the idea that violence may be intrinsic to human nature and starts the
exploration into this worldview which becomes increasingly apparent within McCarthy’s
corpus. Indeed, as this chapter will highlight, humankind’s capacity for violence is made
evident within the text, predominantly, although not exclusively, through the protagonist
Lester Ballard. Through the deranged character of Ballard, who is both a murderer and a
necrophile, the novel explores some of the darkest aspects of human nature. Thus, repeated
exposure to overwhelming violence and dark human behaviour certainly makes hope for the
human race hard to find. However, this chapter argues that hope can be found in the form of
human morality. Ballard, I believe, is one of McCarthy’s most interesting characters, mainly
due to his complexity. He is at once monster and human, evil yet capable of distinguishing
right from wrong. In this chapter it will be argued that Ballard, while damaged, is not wholly
devoid of either humanness or morality. Where virtuous behaviour is not entirely absent,
humankind cannot be considered completely depraved. Thus, I propose that this world is not
utterly hopeless.
3
The second chapter focuses on the first of McCarthy’s western novels, Blood Meridian. It
is almost impossible to write on Blood Meridian without mentioning the overwhelming
violence that pervades its pages and many scholars have made attempts to understand and
explain the omnipresence of violence within the text. This chapter does indeed draw upon
previous scholarly work and discusses the troubling nature of both violence and survival
within the novel. However, it also focuses on the lack of humanity in the text and this, I
suggest, is equally, if not more disturbing than the prevalence of violence. Consequently, this
chapter on Blood Meridian is the most challenging in terms of finding hope for humankind,
not solely due to the extremity of violence within the novel, but also because human
compassion is almost non-existent. Although Blood Meridian is noticeably deficient in the
most basic displays of humanity, which are more easily recognisable in McCarthy’s
Tennessee novels, like Child of God, I will argue that hope can still be found in the
potentially redemptive figure of the kid. Thus, the kid shares some of the same qualities as
Ballard in Child of God, as the kid also demonstrates, although considerably more faintly, the
human capacity to be moral.
The final chapter will examine McCarthy’s latest novel, The Road. This novel presents a
striking departure from McCarthy’s earlier work due to its portrayal of humanity and this
divergence is made especially evident when juxtaposed with Blood Meridian. Thus, chapter 3
highlights the remarkably different worldviews of Blood Meridian and The Road. Although
The Road, like all of McCarthy’s novels, is a world of violence, the evil of humankind is
counteracted by frequent displays of human goodness which are primarily revealed in the
relationship between the two main characters: the father and his boy. In this novel, then,
survival is not uppermost to the protagonists; it is the survival of human goodness which they
consider to be most important. The father and son do not give up on humankind and they
encourage us to believe that human compassion can survive, even in the most unpromising
world. Thus, in opposition to Blood Meridian, this chapter will provide the most evidence to
suggest that there is hope for the human race exhibited in McCarthy’s work.
Within this dissertation two important key terms are used repeatedly throughout. Here,
with the hope of facilitating reading, I will briefly identify these two terms and define their
meanings within the context of this dissertation. The first of these terms is morality.
McCarthy addresses the theme of human morality in all of his novels, often challenging the
reader’s own definition of morality. Thus, morality is a problematic term as what we consider
as moral is largely defined through individual interpretation. Consequently, in the framework
4
of this dissertation, morality is referred to in its most basic sense. The term morality is
primarily used when characters show, even the slightest capability, of behaving in ways that
are considered as right and good by the majority of people. The second term I wish to define
is humanity. It is important to acknowledge here that the terms morality and humanity are not
used interchangeably throughout the dissertation, but have different meanings. The term
humanity is used when right and good conduct is considerably more distinctive,
predominantly when obvious acts of human kindness and compassion are observed.
There is a deep pessimism regarding humankind that runs throughout McCarthy’s work
and this is impossible to overlook. McCarthy makes the darkness of humankind obvious and
many characters in his novels share the same depressing view concerning the human race that
the tinker has in Outer Dark. “I’ve sat on the bench in this county since it was a county and in
that time I’ve heard a lot of things that give me grave doubts about the human race”2 (289)
declares the judge to John Grady Cole at the end of All the Pretty Horses (1992). Thus,
McCarthy not only makes the darkness of humankind apparent through the horrific violence
within his novels, but he makes it even more profound by having his characters reflect on and
emphasise the mean nature of humans. “I never knew such a place for meanness”3 says the
woman in Child of God, as does the old man in Suttree (1979, 180). In McCarthy’s novels
then, it is noticeably easy to “find meanness in the least of creatures”4, however human
goodness, although considerably less obvious, can also be found and this, I propose, is all too
often ignored.
2 Cormac McCarthy, All the Pretty Horses (London: Picador, 1993), 289. Subsequent page references in text.
3 Cormac McCarthy, Child of God (London: Picador, 1989), 164. Subsequent page references in text.
4 Cormac McCarthy, Blood Meridian or The Evening Redness in the West (London: Picador, 2010): 20.
Subsequent page references in text.
5
1
“A PLACE FOR MEANNESS”
CHILD OF GOD
Child of God is McCarthy’s third novel and like its South Appalachian predecessors, The
Orchard Keeper (1965) and Outer Dark, it extends McCarthy’s exploration into the human
capacity for violence. Child of God contains themes which are apparent in McCarthy’s earlier
texts and these themes of human nature, violence and survival – are developed throughout the
entirety of his work. Although Child of God is not renowned as McCarthy’s most violent
novel, since Blood Meridian without a doubt holds this title, its protagonist Lester Ballard is
often considered as McCarthy’s most corrupt central character. Child of God depicts the
violent life of Ballard and follows him as he repeatedly commits murder and necrophilia.
Ballard is undeniably disturbing and it is difficult to imagine such a depraved character, but
more disturbing than Ballard himself is that he is used by McCarthy to explore the darkest
aspects of human nature. Philosophical questions regarding human nature are at the heart of
this novel, including the dilemma of whether hope for humankind can be found through
Ballard and his violent world.
At the beginning of Child of God, the narrator introduces Lester Ballard and suggests that
he is “a child of God much like yourself perhaps” (4). This proposal starts the tension that
continues throughout the novel, a tension within the reader to decide whether they themselves
are comparable to the murderer and necrophile. As Lydia Cooper writes, the narrator appears
to insist that “Ballard is a reflection of ordinary humans”5, like everybody else, he is after all
a “child of god” (4). Consequently, from the beginning of the novel, Ballard is not just an
individual and unique example of human corruption. Through the character of Lester Ballard,
McCarthy suggests that violence is a substantial part of human nature.
Although Ballard commits horrendous acts of violence, McCarthy keeps his humanness
intact throughout the novel. Ballard is a serial killer who sexually violates the bodies of his
dead victims and then collects them “in the bowels of the mountain” (135), yet the reader can
5 Lydia Cooper, “McCarthy, Tennessee, and the Southern Gothic,” in The Cambridge Companion to Cormac
McCarthy, ed. Steven Frye (Cambridge: Cambridge University Press, 2013), 47. Subsequent page references in
text.
6
still identify human qualities in such a monster. One way in which Ballard’s humanness is
emphasised is through his instinct to survive, an instinct inherent to humans. As Erik Hage
notes, Ballard has “a hardscrabble life of hunger, pain, and exposure to the elements”6, but
despite this he continues his instinctual fight to survive. As well as an appetite for violence,
Ballard also appears to have an appetite for survival. He lives through the duration of winter
alone in the woods, he survives his battle against Greer where he loses his arm and he
manages to scrabble his way out of a cave after “he had not eaten for five days” (190). Like
many of McCarthy’s protagonists, Ballard possesses a remarkable ability to survive even the
most hopeless situations. Here a comparison can be made to the kid in Blood Meridian who
miraculously survives various attacks and injuries, including being “shot ... just below the
heart” (4). Indeed, the kid outlives nearly all of his fellow travellers and his survival is only
jeopardised by the seemingly immortal Judge Holden. It is also important to acknowledge
here the survivalist nature of the father and son in The Road. In a post-apocalyptic world
where they seem doomed to fail, the father and son outlive the majority of humankind and
there is even hope that the son may live to tell the tale. Just as McCarthy suggests that
violence is an intrinsic part of human fallibility, he perhaps also proposes that the instinct to
survive is equally central to human nature.
Although Ballard’s instinct to survive expresses his humanness, this culminates at the end
of the novel with his eventual death. Ballard’s death reminds us that he is human, all living
creatures have to die and Ballard is no exception. Ballard’s demise is not particularly
dramatic, he is simply “found dead in the floor of his cage” (194), presumably from
pneumonia. When his body is taken to a medical school to be examined he “take[s] his place
with other deceased persons” (194) and becomes one of many newly departed. After the
examination of Ballard’s body where
He was laid out on a slab and flayed, eviscerated, dissected. His head was sawed open and
the brains removed. His muscles were stripped from his bones. His heart was taken out.
His entrails were hauled forth and delineated ... [he] was scraped from the table into a
plastic bag and taken with others of his kind to a cemetery outside the city and there
interred (194)
Brian Evenson argues that “nobody [comes] any closer to an answer for why Ballard was the
way he was”7. McCarthy gives no answer to explain Ballard’s violence, primarily because
6 Erik Hage, Cormac McCarthy: A Literary Companion (North Carolina: McFarland, 2010), 55.
7 Brian Evenson, “McCarthy and the Uses of Philosophy in the Tennessee Novels,” in The Cambridge
Companion to Cormac McCarthy, ed. Steven Frye (Cambridge: Cambridge University Press, 2013), 60-1.
Subsequent page references in text.
7
there is no answer. Although Ballard lives the end of his life in a state hospital “he [is] never
indicted for any crime” (193) and he is not classified as a psychopath or a “crazy man” (193)
as the reader may expect. McCarthy wants us to see that Ballard is essentially an ordinary
human and he remains that way to his inevitable end.
Against all the odds, McCarthy forces us to recognise Ballard as a human being and as
Michael Madsen notes, this is “crucial in our perception and ... understanding of [him]”8. If
Ballard was portrayed as completely inhuman, he would merely be disregarded as ‘other’,
however his humanness prevents him from being out of the ordinary and instead causes the
reader to identify a connection with him. This connection emerges out of the realisation that
Ballard is not in fact different, but similar to ourselves. He is not a deviation from
humankind, but an example of what happens when violence inherent in the human race
manifests itself. When the deputy of Sevier County asks “you think people was meaner then
than they are now?”, the old man replies “I think people are the same from the day God first
made one” (168). Nowhere in the novel is it made more apparent than in this exchange that
the potential for violence is a shared human characteristic and therefore something which the
reader and Ballard have in common.
By preserving Ballard’s human attributes, McCarthy creates a possibility for the reader to
empathise with him. Ballard is at once one of McCarthy’s most shocking characters and one
of his most empathetic characters. Brian Evenson accurately captures Ballard’s character
when he describes him as “damaged” (62) which evokes a sense of pity and suggests that he
has been spoilt in some way. Ballard is damaged and it can be argued that the violence he
enacts is not due to his own fault. From childhood the people around Ballard have failed him
including his mother, his father and even the community, consequently it is difficult not to
feel sympathy toward such a lone outsider who struggles to survive in a world that does not
accept him. Various people of Sevier County recall memories of Ballard and through them
we discover that his “mother had run off” and “his daddy killed hisself” after which “he never
was right” (21). Wallis Sanborn agrees with the speculation of the townspeople and suggests
that since witnessing his father’s suicide and the “ultimate act of self-violence”9 Ballard’s
existence becomes one of “endless ... violence” (65-6). Although there may be a correlation
8 Michael Madsen, “The Uncanny Necrophile in Cormac McCarthy’s Child of God; or, How I Learned to
Understand Lester Ballard and Start Worrying,” The Cormac McCarthy Journal v. 9, no. 1 (2011): 24. 9 Wallis Sanborn, Animals in the Fiction of Cormac McCarthy (North Carolina: McFarland, 2006), 66.
Subsequent page references in text.
8
here between Ballard’s violence and his father’s suicide, his violence only escalates in
adulthood once he becomes removed from society.
Ballard’s violence is fundamentally linked to his terrain. As Ballard finds himself further
removed from society and more immersed in nature, his violence intensifies. When we are
first introduced to Ballard he owns “a piece of real estate” (6) in the valley, however he
quickly descends to a “barren cabin” (23) and after this burns down, he becomes a cave
dweller. As Ballard’s places of abode become progressively primitive, he too declines into a
primitive condition. The caves in which Ballard dwells are appropriately symbolic of his
degeneration into a dark and primitive state. Ballard turns into a troglodyte, a human being
who occupies a cave. As Ballard’s dwellings go from being included within society, to on the
edge of society, to far removed from society, social rules become increasingly irrelevant to
him and his violent human nature supersedes his morality. Ballard is deprived of social
inclusion and as a result his natural will surpasses any of the ethics which society once
instilled in him. Ballard’s morality gradually disappears once he becomes a societal outsider
and when he finds a young couple in a car “deader’n hell” (87) at the Frog Mountain
turnaround, he acts just as wild as the landscape he roams.
It is important to acknowledge that Ballard does not become isolated from society due to
his own choice. The people of Sevier County brutally exclude Ballard from the community
and as a result it is arguable that violence is, at the very least, a part of their nature. Although
Ballard’s violence prevails, he is certainly not the only violent character within the novel.
Critic Gerhard Hoffmann argues that “the people of Sevier County ... are polite and
friendly”10
and that “the social surface of the county’s life is unshaken by anxiety, distress or
evil” (229), however this reading is perhaps erroneous. A close examination of the novel
provides evidence to suggest that violence and evil permeate the entirety of Sevier County.
Violence is grounded in Sevier County from the beginning of the novel, where the
townspeople ruthlessly auction off Ballard’s property. Ballard protests against the auctioning
of his home and is met by violence, receiving an “awful pumpknot on his head” (9). “Lester
Ballard never [was] right after that” (9), one of the narrators observes. Through violence, the
people of Sevier County eliminate Ballard from society and arguably initiate his descent into
the wilderness. The sale of Ballard’s property evicts him not only from his home, but from
10
Gerhard Hoffman, “Strangeness, Gaps, and the Mystery of Life: Cormac McCarthy’s Southern Novels,”
American Studies v. 42, no. 2 (1997): 229. Subsequent page references in text.
9
civilisation. Arguably the community instigate Ballard’s fate, a community whose sheriff is
fittingly named Fate Turner.
The folk of Sevier County use the extremity of Lester’s violence to demonstrate that they
themselves are not violent. “You can trace em back to Adam if you want and goddamn if
[Lester] didn’t outstrip them all” (81) one narrator exclaims. James Giles recognises that “the
community feels a degree of genuine pride in having produced the sinner of sinners”11
.
Indeed, almost every narrator reiterates that no one is “a patch on Lester Ballard” (23).
Although the townspeople seem to take pride in Ballard, they are neither willing to accept
responsibility for Ballard’s descent into violence or to liken themselves to him. Instead they
constantly make attempts to distance themselves from Ballard; assuring themselves that he
was “never ... right” (21) and therefore in some way different. This is seemingly ironic
considering that Ballard reflects the violent society of which he was once a part. Ballard and
the people of Sevier County share in common a weakness for violence and as Gary Ciuba
writes, “Ballard’s violence makes him ... exemplary in the violent world of the novel”12
.
Violent incidences in Sevier County are frequently recorded throughout the text including
fights, robberies, hangings, stonings and shootings. Sevier County certainly is “a place for
meanness” (164). Ballard is not extraordinary in the world of the novel, but is alike to many
of the inhabitants of Sevier County.
The population of Sevier County display violence of varying degrees. Among the
inhabitants who show the most violent potential are the dumpkeeper and the “idiot child”
(115). The dumpkeeper parallels Ballard as both characters violently exploit bodies and
collect dead things. Whereas Ballard commits necrophilia, the dumpkeeper commits both
rape and incest. While Ballard collects dead bodies in “a ... damp ... chamber” (196), the
dumpkeeper accumulates “the remains of several cars” (110). Indeed, the dumpkeeper and
Ballard are considerably similar people and this perhaps suggests, as Dianne Luce writes, that
“Lester is emblematic of the society from which he arises”13
and is therefore not unique in
society, but rather symbolic of it. In Sevier County, human depravity appears to be ordinary.
11
James Giles, “Discovering Fourthspace in Appalachia: Cormac McCarthy’s Outer Dark and Child of God,” in
Cormac McCarthy (Bloom’s Modern Critical Views), ed. Harold Bloom (New York: Infobase Publishing,
2009), 123. 12
Gary Ciuba, Desire, Violence & Divinity in Modern Southern Fiction (Louisiana: Louisiana State University
Press, 2007), 193. Subsequent page references in text. 13
Dianne Luce, “The Cave of Oblivion: Platonic Mythology in Child of God,” in Cormac McCarthy: New
Directions, ed. James Lilley (New Mexico: University of New Mexico Press, 2002), 177. Subsequent page
references in text.
10
The novel tells us in grave detail how the dumpkeeper forces himself onto one of his
daughters and like Ballard he appears to have little sense of morality. The idiot child is also
comparable to Ballard, as both have an appetite for violence. Ballard gives the idiot child a
“playpretty” in the form of a “half froze robin” (77) and within minutes the idiot child’s
“mouth [is] stained with blood” (79) as it chews off the legs of the bird. Ballard’s violence is
not a deviation from the norm, but a part of the violence inherent in Sevier County and indeed
inherent in the human race.
Sevier County is undoubtedly “a place for meanness” (164); however the fact that
Ballard’s violence prevails is inescapable and cannot be ignored. Although there is much
violence in the novel, Ballard is by far the most violent being we encounter. He is
simultaneously “a child of God” (4) like all people and a monster. I have argued that Ballard
never entirely loses his human characteristics, however it is interesting to acknowledge that
McCarthy still imbues him with dehumanising attributes. Early in the novel the narrator
describes him as “a misplaced and loveless simian shape” (20) and this is just one example of
Ballard’s dehumanisation. Elsewhere throughout McCarthy’s corpus, people are often
dehumanised and commonly described as “simian” (288), a word which is also found in
Blood Meridian. There is a correlation here apparent in McCarthy’s oeuvre; man is at the
same time human and animal. By describing Ballard and indeed many of his characters as
“simian” McCarthy suggests that they look and behave less like humans and more like
primates. This is supported in Child of God, where Ballard is not only described as “simian”,
but is also directly compared to apes. When Ballard wakes one morning in agony from “hot
pains ... rifling through his feet”, his sobs are described as “a sound not quite crying [but] like
the mutterings of a band of sympathetic apes” (159). These descriptions of characters as
primates rather than humans are found throughout McCarthy’s corpus and are subtle hints
indicating that his characters have retained their primal instincts and have regressed to a
primordial state. Although humankind appears to have evolved, the human race has never lost
its innate primal instincts and as a result there is always a possibility that human beings can
degenerate to earlier stages of evolution. Like every one of McCarthy’s characters, every
human has animalistic potential.
Ballard’s animalistic potential manifests itself in Child of God and as the novel progresses,
his violence escalates and his animalistic nature also heightens. As Ballard becomes
increasingly violent and animalistic, McCarthy’s dehumanising descriptions of him are
considerably more exaggerated. Ballard becomes progressively more dehumanised and ends
11
up not even being described as a living creature, but as “a gothic doll in illfit clothes” (140).
Gary Ciuba suggests that Ballard becomes so dehumanised that “he is hardly recognisable as
human” (193), however Ballard’s dehumanisation is constantly juxtaposed with his
humanness. This is evident all the way through the novel where, for example, he is
simultaneously described as “a crazed mountain troll” (152) and “a ... onearmed human”
(192). Thus, as often as Ballard is described as a beast, a monster, a “ghoul” (174), or even a
“gothic doll” (140), he is also described as “human” (192), a human who is shown to live,
eat, cry and die like any other “child of God” (4).
Although Ballard is repeatedly described in dehumanising ways and his actions are
admittedly monstrous, John Cant accurately acknowledges that “he remains a human
figure”14
and therefore is not worlds apart from the reader. Consequently the reader
distinguishes that Ballard is evil, but also notices that he is not, as Lydia Cooper notes,
“something entirely ‘other,’ entirely different from themselves” (47). William Schafer
suggests that Ballard is “a human turned beast”15
, however it is perhaps more accurate to
describe Ballard as both human and beast. Ballard does not simply turn into a beast, if this
were the case; the reader would merely disregard Ballard as a monster, as ‘other’. However
McCarthy constantly encourages us to recognise the disconcerting truth that Ballard is
potentially representative of any person. In the character of Ballard, McCarthy has created the
perfect balance. As readers we do not empathise with Ballard to the extent that we can wholly
relate to him; however we also fail to reject him as nothing more than a violent beast.
Ballard’s desire for violence is obvious and he can be compared here to the desperadoes of
Blood Meridian, who share in common a fondness for brutality. However Dianne Luce notes
that there is a significant difference between Ballard and many of McCarthy’s other
characters, including the characters of Blood Meridian, as unlike them, Ballard “is not
primarily motivated by the desire to mutilate and destroy”16
. On his way to one of many visits
to the dumpkeeper, Ballard attempts to shoot a bird and although he has his rifle poised,
“something of an old foreboding [makes] him hold” (25). The bird escapes from Ballard – “it
flew. Small. Tiny. Gone” (25). Although Ballard clearly has an initial desire to destroy the
bird, he refrains himself from committing such an unnecessary act of violence. Here the
14
John Cant, Cormac McCarthy and the Myth of American Exceptionalism (London: Routledge, 2003), 89.
Subsequent page references in text. 15
William Schafer, “Cormac McCarthy: The Hard Wages of Original Sin,” Appalachian Journal, v. 4, no. 2
(Winter 1977), 116. 16
Dianne Luce, Reading the World: Cormac McCarthy’s Tennessee Period (South Carolina: University of
South Carolina Press, 2009), 135. Subsequent page references in text.
12
difference in the violence of Ballard and the characters of Blood Meridian is obvious. Judge
Holden, for example, would have undoubtedly shot the bird without any contemplation.
Unlike Ballard, the Judge’s desire is to mutilate and destroy and he does exactly this. The
judge examines, sketches and then destroys every unfamiliar object that he comes across and
when asked by fellow gang member Toadvine why he does this, he replies “whatever in
creation exists without my knowledge exists without my consent” (209). Whereas the Judge
destroys and kills unnecessarily, Ballard murders “as a means to a practical, sexual end”
(135). Thus Ballard fails to kill the bird because its death would not be practical in anyway, it
is “tiny” (25) and therefore not suitable for eating.
Ballard’s violence is at a very different level to the violence of the characters in Blood
Meridian and this suggests, at the very least, that Ballard retains more humanity than most of
McCarthy’s other characters. The deaths of Ballard’s victims are not as brutal or gruesome as
one might expect after reading Blood Meridian. In Blood Meridian the imagery of murder
and violence is excessive.
Some of the men were moving on foot among the huts with torches and dragging the
victims out, slathered and dripping with blood, hacking at the dying and decapitating those
who knelt for mercy ... a number of Mexican slaves ... ran forth calling out in Spanish and
were brained or shot and one of the Delawares emerged from the smoke with a naked
infant dangling in each hand and squatted at a ring of midden stones and swung them by
the heels each in turn and bashed their heads against the stones so that the brains burst
forth through the fontanel in a bloody spew and humans on fire came shrieking forth like
berserkers and the riders hacked them down with their enormous knives (164-5)
In comparison, the murder and violence in Child of God is, as Dianne Luce writes, “handled
with exquisite delicacy” (171). Ballard’s murders are not described in such horrific detail and
his last victim is simply killed “as he laid the muzzle of the rifle at the base of her skull and
fired” (151). Descriptions of blood and gore which are so prevalent in Blood Meridian,
appear to be omitted in Child of God. This reinforces the idea that Ballard does not mutilate
his victims, like the characters of Blood Meridian. Rather than destroying his victims, Ballard
has a strong desire to protect them and Luce acknowledges that “he tries against all odds and
time to preserve them” (135). Whereas the outlaws in Blood Meridian mutilate the bodies of
their victims to the extent that they are unrecognisable, Ballard makes a lot of effort in
keeping and preserving the dead. In fact the only body to be mutilated is Ballard’s own.
Ballard preserves the dead, however when he dies, the state are quick to “flay ... eviscerate
[and] dissect” (194) him. The treatment of Ballard’s remains is, as Georg Guillemin describes
13
“barbaric”17
, but more important is that Ballard’s corpse endures more violence than those of
his own victims. The violation of Ballard’s body reiterates the idea that Ballard is not the
only violent perpetrator, indeed, the whole state implements violence.
Unlike the state, Ballard is committed to the preservation of his victims and his care for
the bodies he collects is strongly established from the first corpse he encounters. He carried
the dead girl “on his shoulder for a mile” (91), he “laid her on the mattress and covered her”
(91), he put her “in the other room away from the heat for keeping” (94), he “brushed her
hair” (102) and he even attempts to recover her body and risk his own life when his cabin sets
on fire. Although Ballard has a violent nature, he does not intentionally mutilate his victims
and in this sense he is not as brutal or as inhuman as Blood Meridian’s desperadoes. The
compassion Ballard has for his dead victims is a human trait and this gives the reader, yet
again, another small glimpse into the humanity that is hidden away, but nevertheless present
within him.
The concluding pages of the text truly emphasise Ballard’s moral awareness, something
that has perhaps been set aside, but never completely lost. Although Ballard escapes from the
“tormentors” (182) who attempt to discover his crimes and capture him, he eventually makes
the decision to hand himself in anyway. He leaves the caves and darkness behind and returns
to society, recognising that he is “supposed to be [t]here” (192). Ballard’s return to society is
an abrupt episode within the novel, however it is highly significant. Ballard chooses morality
over the inhuman life he has become accustomed too. Rather than continuing his violent life
in the wild, he realises that living in an asylum for the rest of his life is a preferable state of
existence. This redemption demonstrates that even the most depraved character is potentially
redeemable, thus, there is hope for humankind yet.
After Ballard’s redemption, we witness, in graphic detail, his death. One might expect to
feel relief, even happiness, at the death of a serial killer who has taken so many innocent
lives, however Ballard’s death is far from a joyous occasion. There are two reasons why we,
as readers, fail to celebrate the death of Lester Ballard. Firstly, Ballard’s death
chronologically comes straight after his redemption and the ultimate display of his morality.
Ballard dies just two paragraphs after his salvation and therefore at the height of his virtue.
Thus, Ballard dies at a point in the novel where we feel that he may be on the road to
goodness rather than a downward spiral of violence. Ballard’s demise is, as John Cant
17
Georg Guillemin, The Pastoral Vision of Cormac McCarthy (Texas: Texas A&M University Press, 2004), 44.
14
describes “awful” (89) and his body is treated in such a brutal way after his redemption that
our sympathy towards him is enhanced, after all, it is not pleasant to imagine any human
ending up being “scraped from [a] table into a plastic bag” (194). The second reason why
Ballard’s death is not an enjoyable event is due to the fact that it does not, as Gary Ciuba
writes, “re-establish ... a humane and halcyon order” (199). “The four young students who
bent over him like those haruspices of old perhaps saw monsters worse to come in their
configurations” (194). Rather than Ballard’s death being the removal of violence, it suggests
that violence will continue to feature strongly in the future of the human race. The violence
contained in Ballard is likely to rise in other human individuals. Again, it is emphasised that
Ballard is not the only “child of God” (4). Ballard’s entrails predict a bleak future where there
is “perhaps ... worse to come” (194), a forecast which proves true, as worse does come later
on in McCarthy’s corpus. In McCarthy’s oeuvre, Ballard is not exceptional; he is one of
many violent characters. Ballard is arguably a sample of the violence to come in terms of
both humankind and McCarthy’s work.
The message of Child of God is certainly not a positive one. Through Ballard we see the
potential violence of humankind, a violence which has been ever present and, as Ballard’s
entrails suggest, will continue to be an inevitable part of human nature. Ballard is perhaps
McCarthy’s most depraved character and his grievous acts cannot be justified. He is
undoubtedly a monstrous version of humankind. However, through Ballard, the message of
Child of God is not entirely hopeless. Ballard is a murderer and a necrophile, yet, McCarthy’s
handling of him is seemingly restrained. Unlike the kid in Blood Meridian, McCarthy’s
treatment of Ballard, who is arguably more corrupt than the kid, is considerably more
sympathetic. McCarthy’s sensitive treatment of Ballard therefore makes it possible for us to
identify redemption within him, especially at the end of the novel where he appears to
embrace the small flicker of morality that he has left. If Ballard is representative of the
human race as a whole, then, he not only shows the potential for violence in humankind, but
also the potential for human salvation. Just like Ballard, the human race is not entirely
beyond redemption.
Child of God undoubtedly depicts human depravity and Lester Ballard is certainly
representative of the darkest aspects of human nature. Just as much as he is “a child of God”
(4), he is also a child of violence, akin to the entire human race. In such a shocking world
filled with evidence of humankind’s capacity for violence, hope is admittedly difficult to
find. However hope for the human race can be found within the novel and this is perhaps too
15
easily overlooked. The novel consistently emphasises Ballard’s humanness, revealing that he
has not entirely lost the characteristics of mankind. More important is Ballard’s exceptional
decision to turn back to society, showing that he chooses a moral path over inhumanity and
violence. Even though Ballard is damaged, he is still human and his choice to return to the
hospital shows that he still has some sense of morality, however small. Despite its
overwhelming violence, then, Child of God offers a small, but significant hope for
humankind, a hope which is even more elusive, if not entirely lost, in Blood Meridian.
16
2
“MEN OF WAR”
BLOOD MERIDIAN
It is not to be thought that the life of darkness is sunk in misery and lost as if in sorrowing.
There is no sorrowing. For sorrow is a thing that is swallowed up in death, and death and
dying are the very life of the darkness.
– JACOB BOEHME
The above quote is one of the epigraphs to Cormac McCarthy’s Blood Meridian and sets
the dark tone of the novel. In this text, the first of McCarthy’s post-Appalachian works, the
small light of hope for humankind, it would seem, has almost been extinguished by darkness.
“The life of darkness” consumes this novel and the faint human decency that can be derived
from McCarthy’s Appalachian works appears to be almost entirely lost in Blood Meridian.
Although Blood Meridian shares the common themes of human nature, violence and survival,
which are so prevalent in McCarthy’s work, it deviates from other McCarthy novels due to its
blatant lack of humanity. Human relationships are nonexistent in Blood Meridian and even
the most basic displays of human goodness are difficult to find. Instead, Blood Meridian is a
novel dominated by a man who is quite possibly, as Timothy Parrish claims, “the most
violent character in American literature”18
- the judge. In a novel which is overshadowed by a
character who believes that war is the fundamental condition of human existence, it is not
surprising that morality is surpassed by violence. In Blood Meridian “you can find meanness
in the least of creatures” (20), however attempting to find any trace of goodness is
challenging in a world which is evidently devoid of humanity.
At the beginning of Blood Meridian we are cautioned of the violence that will go on to
dominate the novel. The initial characterisation of the protagonist, who is simply referred to
18
Timothy Parrish, “History and the Problem of Evil in McCarthy’s Western Novels,” in The Cambridge
Companion to Cormac McCarthy, ed. Steven Frye (Cambridge: Cambridge University Press, 2013), 71.
17
as the kid, shows him to be a violent individual. We first learn that from his birth, the kid is,
as Timothy Parrish acknowledges, “a killer”19
. The kid is described as a “creature” who
manages to “carry ... off” (3) his own mother in childbirth. The narrator then observes that “in
him broods already a taste for mindless violence” (3) and it is only shortly after these
depictions that we witness the kid begin his lengthy performance of violent acts. One of the
earliest examples of the kid demonstrating his fondness for mindless violence is when he
comes upon a bar in Bexar. When the barman refuses to give the kid a drink, the kid attacks
him with a bottle. “He backhanded the ... bottle across the barman’s skull and crammed the
jagged remnant into his eye as he went down” (27). This violence is not only unnecessary,
but also excessive, yet the kid simply takes “another bottle and tuck[s] it under his arm and
walk[s] out the door” (27). The kid is completely unemotional and fails to reflect on the
violence he has carried out; however this lack of sentiment becomes very normal in Blood
Meridian. Indeed, not a single character, including the kid, ever reflects upon the violence
that they perpetrate. The kid and his gang are ultimately uncaring and they are so devoid of
human emotion that, as John Cant writes, “they do not actually appear to be realistically
human at all” (160).
One phrase frequently repeated throughout Blood Meridian, which highlights the uncaring
nature of the desperados is “they rode on”.
They rode on into the mountains and their way took them through high pine forests, wind
in the trees, lonely birdcalls. The shoeless mules slaloming through the dry grass and pine
needles. In the blue coulees on the north slopes narrow tailings of old snow. They rode up
switchbacks through a lonely aspen wood where the fallen leaves lay like golden disclets
in the damp black trail (143)
After each violent encounter the gang simply ride on undeterred. McCarthy avoids spending
any time to reflect upon violence or death, just like the characters. Instead, episodes of
violence are commonly followed by extended descriptions of the gang’s trek, which replace
the interior feelings such as anger, guilt or fear of the kid and his companions. Thus, the
novel narrates action, but not contemplation and due to this lack of interiority, the characters
appear to be detached from human emotion. Thomas Pughe writes that the desperados
“appear ... to be ... too brutalised for any emotion”20
and this seems to be an accurate
19
Timothy Parrish, From the Civil War to the Apocalypse: Postmodern History and American Fiction
(Massachusetts: University of Massachusetts Press, 2008), 91. 20
Thomas Pughe, “Revision and Vision: Cormac McCarthy’s “Blood Meridian”,” Revue française d'études
américaines no. 62 (novembre 1994): 376.
18
observation, especially if we acknowledge the insensitive nature that the characters have
towards various tribes, each other, and even themselves.
The kid and his gang are ultimately desensitised to violence, more than likely due to their
repeated exposure to it. When the riders come upon the “tree of dead babies” (58), an image
which is unforgettable in its horror for most readers, they fail to react to such an utterly
disturbing scene.
The way narrowed through rocks and by and by they came to a bush that was hung with
dead babies. They stopped side by side, reeling in the heat. These small victims, seven,
eight of them, had holes punched in their under-jaws and were hung so by their throats
from the broken stobs of a mesquite to stare eyeless at the naked sky. Bald and pale and
bloated, larval to some unreckonable being. The castaways hobbled past, they looked
back. Nothing moved (60-1)
Whereas most humans would recoil in horror at such a sight, the desperados specifically stop
at the tree and then look back to it, almost as though they are engrossed by it. Not only are the
kid and his fellow travellers insensitive towards the victims that they come across, they are
also entirely uncaring towards each other. Unlike The Road, where the relationship between
the father and son demonstrates that all humanity is not lost, nowhere in Blood Meridian can
you find meaningful human connections. When a member of the gang dies, their death is
treated very matter of fact and is narrated with no feeling. Even when John Joel Glanton, the
gang’s leader, has his head “split ... to the thrapple” (290), Tobin, the expriest, simply tells
David Brown “Glanton’s dead” (302) and then they both ride on. The nonexistence of human
relationships in Blood Meridian is further emphasised at the end of the novel, when the scalp
hunters resort to fighting each other in order to survive in the American West. Ultimately
these characters care for no one.
As John Cant recognises, Blood Meridian depicts a “Hobbesian war of all against all”
(159). Thus, in this novel, each man fights for himself and human relationships are therefore
irrelevant. As every man stands for himself in Blood Meridian, all men are violent, including
the “injins” (83). The Indians have a capacity for violence which, at the very least, equals that
of their Anglo-Saxon adversaries. One Indian attack in particular emphasises their propensity
for violence:
A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical
or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces
of uniform still tracked with the blood of prior owners ... one in a stovepipe hat and one
with an umbrella and one in white stockings and a bloodstained weddingveil ... and one in
19
the armor of a Spanish conquistador, the breastplate and pauldrons deeply dented with old
blows of mace or sabre done in another country by men whose very bones were dust ...
and their horses' ears and tails worked with bits of brightly colored cloth and one whose
horse's whole head was painted crimson red and all the horsemen's faces gaudy and
grotesque with daubings like a company of mounted clowns, death hilarious ... (55)
Here, the violence of these beings, who are dehumanised to the extent that they are not even
recognisable as men, but as “a legion of horribles ... a company of mounted clowns”, is made
evident. Not only have they slaughtered what appears to be a countless number of people, but
they have also stolen materials from the bodies of their dead victims and wear them in pride
as symbols of their violent conquests. One wears a “bloodstained weddingveil” and it is
presumed that this Comanche is accountable for the murdering of a bride on the day of her
wedding, an act which exemplifies the extent of the tribe’s inhumanity. Another wears “the
armor of a Spanish conquistador”, an armor which would be very old, even in the mid-
nineteenth century. Thus, the violence of these individuals is not only ruthless, but it is passed
on through each generation. Violence in Blood Meridian is, as Jay Ellis identifies,
“timeless”21
.
Violence, it would seem, is deep-rooted in human history and the 300,000-year-old
scalped skull, described in the epigraph to Blood Meridian, makes this apparent. Even the
novel itself, although published in 1985, is set in the nineteenth century and depicts the
violence that accompanied the historic event of America’s westward expansion. Many critics,
including Stacey Peebles, choose to explain the violence in Blood Meridian “as a
demythologising of the American West”22
and the brutality of the desperados undoubtedly
challenges romanticised accounts of the West as a place of glory and progress. The only
progression in McCarthy’s American West is the progression of violence. Each victim slain
by Glanton’s gang perpetuates the gang’s violence until their killing is unrestrained and is not
just limited to the Indians, but expands to include all people regardless of ethnicity. As
Timothy Parrish acknowledges, “the act of killing supersedes the reason for killing” (87) and
if the kid and his gang started their killing spree out of the necessity of survival, they
certainly do not end it this way. Walter Sullivan suggests that the gang kill for money and
21
Jay Ellis, ““What Happens to Country” in Blood Meridian,” Rocky Mountain Review of Language and
Literature v. 60, no. 1 (2006): 86. 22
Stacey Peebles, “Yuman Belief Systems and Cormac McCarthy’s Blood Meridian,” Texas Studies in
Literature and Language v. 45, no. 2 (2003): 231.
20
therefore survival, they “shoot first, pocket the loot, and keep on living”23
, he writes.
However, the fact that their killing becomes so widespread and unnecessary suggests
otherwise. Thus, McCarthy does not make heroes out of his scalphunters, in fact finding a
single hero in Blood Meridian is an impossible task. Instead, McCarthy seems to suggest that
violence and death characterised America’s westward expansion and perhaps, as the scalped
skull implies, all of human history.
Although humans are clearly brutal in this world, violence is not limited to humankind;
indeed, all nature is violent in Blood Meridian. Susan Kollin observes that “the novel
provides numerous descriptions of the West as a desecrated and violent terrain”24
, therefore it
appears that the characters are not only equally as violent as their enemies, but also the land
they roam. Even the sun in Blood Meridian mirrors the violent world it looks down upon and
watches over. “The sun in the east flushed pale streaks of light and then a deeper run of color
like blood” (47). The landscape of Blood Meridian is ruthless and just like the desperados, it
takes many lives.
Ten days out with four men dead they started across a plain of pure pumice where there
grew no shrub, no weed, far as the eye could see ... In two days they began to come upon
bones and cast-off apparel ... they saw panniers and packsaddles and the bones of men and
they saw a mule entire, the dried and blackened carcass hard as iron (47-48)
The setting of Blood Meridian is ultimately a place in which violence flourishes and law is
absent. In this environment, morality is no longer of value and therefore it ceases to exist.
Unrestrained by the constraints of society and law, the characters reflect the violent landscape
and their primal instincts take over.
The kid and his gang, just like Lester Ballard in Child of God, avoid societal inclusion and
consequently do not obtain the morality, which may have been – at least partly provided by
cultural rules. Thus, both Ballard and the characters of Blood Meridian are perhaps evidence
to suggest that without socially enforced restrictions, the human race descends to a violent
state. By depicting worlds in which his characters are predominantly withdrawn from society,
McCarthy perhaps suggests that humankind needs the moral order provided by societal rules
in order to control instinctive violence. In the natural world, away from the constrictions of
civilisation, morality is insignificant and as Neil Campbell notes, “the survival of the fittest is
23
Walter Sullivan, “About Any Kind of Meanness You Can Name: The Silence of Snakes by Lewis W. Green;
Godfires by William Hoffman; Blood Meridian or the Evening Redness in the West by Cormac McCarthy,” The
Sewanee Review, v.93, no. 4 (Fall 1985): 652. 24
Susan Kollin, “Genre and the Geographies of Violence: Cormac McCarthy and the Contemporary Western,”
Contemporary Literature v. 42, no. 3 (Autumn 2001): 562.
21
uppermost”25
. The kid and his companions become players in what the judge calls “the
ultimate game” (263), a game in which existence is at stake. Glanton’s gang kill people, until,
in the end, they are killed by equally violent individuals. Eventually every member of
Glanton’s gang loses the game of survival and consequently they are removed from
existence, all that is, except Judge Holden.
The judge is, as Barcley Owens acknowledges, the “ultimate purveyor of violence”26
and
his survival at the end of the novel seems unjust. Blood Meridian is inundated with the
judge’s malicious tendencies and his violence is very distinct from that of the other
characters. When asked “what is the way of raising a child?” the judge replies that “at a
young age ... they should be put in a pit with wild dogs” (154). It would appear that the judge
lives the ultimate life of darkness and is blind to a life outside of violence. Perhaps most
troubling is the judge’s fetish for infanticide. Many children become victims of the judge. On
one occasion, after a battle with the Apaches, the judge leaves the scene with “a strange dark
child” (169). After three days of paternally playing with the child and feeding it jerky,
Toadvine finds “the child ... dead and [realises] the judge had scalped it” (173). In retaliation
to such mindless violence, Toadvine draws his pistol to the judge’s head, however the
situation is quickly deterred and ten minutes after, they again ride on. Indeed, the violence of
the kid and his gang seems relatively benign when we compare it to that of the judge.
However, it is certainly not that the violence of the kid and his gang is benign; rather it is that
the judge’s violence is hyperbolic.
It is important to acknowledge here, as Willard Greenwood does, that “the ... judge ... [is]
based on [a] historical character”27
. Samuel Chamberlain’s My Confession: The Recollections
of a Rogue is the historical source from which the judge and indeed Blood Meridian is
derived. Although the judge may be based on a historical figure, this is not to say that his
character is purely based on fact. Judge Holden is evidently an exaggerated version of the
judge found in My Confession which, as Barcley Owens states, would “not dare portray [him]
so graphically” (18). Nonetheless, there are many parallels which can be distinguished
between Chamberlain’s judge and the judge of Blood Meridian. The judge in Chamberlain’s
25
Neil Campbell, “Liberty beyond its proper bounds: Cormac McCarthy’s history of the West in Blood
Meridian,” in Myth, legend, dust: critical responses to Cormac McCarthy, ed. Rick Wallach (Manchester:
Manchester University Press, 2000), 224. Subsequent page references in text. 26
Barcley Owens, Cormac McCarthy’s Western Novels (Arizona: University of Arizona Press, 2000), 16.