2 von 2 Kunden fanden die folgende Rezension hilfreich.
am 4. Mai 1997
I eagerly read The Crossing, having thoroughly
enjoyed All the Pretty Horses (by the way, I
stayed away from All the Pretty Horses for quite
some time, just because the title reminded me
of the movie Pretty Woman, and so I thought the
book would be trite - Wrong!). In The Crossing,
Mr. McCarthy truly unleashes his mastery of the
English language, writing in poem-prose throughout. The sequence of the dying wolf is
the best description of death's ultimate relation to life that I've ever read. My feeling after reading the book was that I'd just become part of the anguish that any displaced species or people feels, in this case the wolf representing Mexico's loss of 2/3 of its country to the US and Mexico representing the loss of innocence of the protagonist and thus the loss of innocence of both the US and Mexico - both guilty of the death that must follow life, yet both still neighbors, although now Mexico is much poorer and dangerous, or is it?
am 5. Mai 2000
I have been a fan of Cormac McCarthy's since All the Pretty Horses, which, unfortunately, Hollywood plans to ruin. I think he is perhaps the greatest living American writer. The Crossing, like All the Pretty Horses, diverges from his earlier writing, which was more stream of consciousness type prose (every bit as beautiful, but disregarding of plot). The writing of the Crossing is more minimalistic, and I think this style works for McCarthy and his heroes, who are usually soft-spoken and reveal little about their inner thoughts. It is only through their actions that we really get to know McCarthy's characters. I agree with other reviewers that the wolf scene was very powerful-it established the theme of a time that was slipping away into a time that is-and we see that with the juxtapposition of boys riding horses with men riding pick-ups. Modernization is destroying what has connected man to animals like the wolf. But I think there are other powerful scenes as well--the preacher who learns about the true meaning of God from a godless man, the mexican girl who falls in love with Boyd and who seems so in tune with nature. To some of the Mexican bad guys, and the ones you think are bad but are actually just expressing their culture, which is different from Americans, holds different things to be of value. I like the way McCarthy writes about different cultures from his own; with a sense of wonder and respect--and sometimes brutal honesty. I think his writing is like poetry, and I bet he would make a hell of a poet, too. Anyway, I recommend The Crossing along with everything else of his I've read. I'm sorry they put his passages on a high school English test, but I doubt he had any control over that.
am 26. Januar 2000
I first came upon Cormac McCarthy during my AP English Test in the Spring of 1999 when I had to do a style analysis of the prose from "The Crossing" where Billy had the dream of the she-wolf and how he imagined her running free with the dears and voles and so on. Well I after the test I hated Cormac McCarthy and after receiving my test score I hated him even more. (You do not want to know my score.) But for some unknown reasons I was fascinated with his writing style. It was so beautiful and yet hollow, like a meandering river leading to nowhere. So I bought the "The Crossing." I did not read it immediately. I read it about six months later. At first it was slow but afterward the text became hypnotic and it coerced my mind into a world of haunting beauty and wanton loneliness. It revealed loneliness in you. Is that possible? Coming to the part near the end of Part I and also to where I had to do a style analysis of I found that part to be the most beautiful and incredible moving text I have ever read because the text was rich and it made you like you were Billy and that the someplace you have been or dreamed of before you cannot revisit again. It was simple heart breaking to hear how the words describe how Billy imagined, "Where she ran the cries of the coyotes clapped shut as if a door had closed upon them and all was fear and marvel." The she-wolf to me then seems to be symbolic of the mankind lost or forgotten or dying in certain time and a certain place (remember what Billy thought when he tasted her blood).
After reading this desolately beautiful novel, I read "All the Pretty Houses" and then "Cities of the Plain." However "The Crossing" is in my opinion the best in the trilogy because. . . . .I cannot say since there exist words out there that express my praise and admiration and love for "The Crossing" but that I cannot pinpoint them. The book is beauty in hollowness. "But which cannot be held never be held and is no flower but is swift and a huntress and the wind itself is in terror of it and the world cannot lose it."
am 9. Oktober 1998
It is always the height of folly, and arrogant folly at that, to suggest the intentions of an author or the "meaning" of a work of fiction, even, I suspect, if one is the author. I will not do so. I do not know what McCarthy intended, but here is the effect his storytelling had on me. The prose is what one would expect from any encounter with his work: deeply powerful and hauntingly beautiful. I found this work to be a return in a richly different way to the kind of allegorical writing of The Outer Dark. Less obvious allegory, and so less allegorical, I suppose, but richly suggestive beyond itself, and not solely in those haunting tales which explicitly address metaphysics and epistemology, such as the tales of the Hermit Priest or the Gypsy. I found the whole work to be a masterful literary encounter with questions of identity, homelessness and homecoming such as are to be found in the later Heidegger especially. In other words, unlike most, I suppose, the power of this novel didn't end for me with the conclusion of the "wolf episode" but rather began there. As he states at the conclusion of that episode and the beginning of the rest of the novel: there are enterprises which, in being doomed, change us as we are, and as we have been, and forever (I paraphrase; McCarthy said it better, but I don't have the book here with me).
I take refuge in the fact that McCarthy seems not to concern himself with my, or any, reaction to his work, but instead writes what he must. I can therefore look forward to more such works as these which, like Greek tragedy, show to me the truth of alienation in the form I most recognize, myself. Nietzsche said of the Greeks that after staring into the dark abyss of their tragedy, they experienced bright spots dancing before their eyes. McCarthy's storytelling is perhaps our best contemporary possibility for such an experience.
am 30. Dezember 1996
McCarthy's prose is magnetic and convincing and above all
reads true. The story about the she-wolf is well done and
riveting, if slightly implausible, but it establishes the
theme of personal conviction and courage in the midst of a
world which is impersonal and often brutal. It forms the
basis for the majority of the story which follows. McCarthy
is successful because he does not judge the actions in his
story, he merely tells the story with prose that is never
false and often eloquent. The three narratives inside the
main story about Billy establish the major theme
regarding conviction and consequences. The first narrative,
about a man who became God's adversary and a priest,
could well be McCarthy's own point of view, since it
emphasizes the relativity of truth and the importance of the
story itself. The second narrative is about a man who was
blinded in the revolution, and supports a perspective that
life is to be interpreted from many different viewpoints,
all of which are integral and equally valid. The third
narrative is about perception and deception, and involves
an airplane which has crashed in the wilderness, and what
may be true and not true about recovering the airplane.
These three narratives are like the legs of a 3-legged stool,
which support the wanderings of Billy in the main story with
a philosophical underpinning, a touchstone upon which to test
Billy's experiences. The action and consequences in Billy's
story are predictable but no less compelling and well told.
I find the main characters in The Crossing and All the Pretty
Horses to be indistinguishable. The prose in The Crossing
is less restrained and often more eloquent than in the All
the Pretty Horses, but it is also less focused overall.
All in all, it is refreshing to find a writer who can
inexhaustibly describe the beauties and harsh trials of
the world with such conviction and passion.
am 11. Juni 1997
I started The Crossing expecting it to be similar to All The Pretty Horses--a book that could go right up on the movie screen as a Great Western, complete with the hero riding off into the sunset. What I found, instead, was a long twisting thread of a tale where every turn is a turn for the worse, where each decision, even if made for the right reasons, somehow results in loss and even more isolation for the main character, Billy. This slow-building anguish is offset by the almost Zen-like descriptions of the desert, the mountains, the dusty poor towns and people.
McCormac's way of presenting dialogue--no quotation marks, and unencumbered by descriptive adverbs (she wrote thoughtfully)-- fits with the spareness of the landscape he describes so gracefully. His one joke in the book (I won't spoil it for you Texans), is told with as much forthrightness as the scene that describes how the blind man lost his eyes--one of the most horrifying things I've ever read. The final scene of the book made the hair stand up on the back of my neck.
I put this book down realizing that there were layers and layers of meaning here, and that I had only absorbed one or maybe two. It's a book that I believe will only improve with rereading (and I will be rereading it, something I rarely do), and one that would provide excellent material for classroom discussion on any number of topics. It's a book that I found myself really wanting to talk with somebody about, so hey, somebody invite me to their book club and let's put this one on the list!
am 14. Mai 1999
Once again Cormac McCarthy uses simple people and events to tell a story of all mankind and the world we take for granted.
The protagonist, Billy, hearing the echoes from long dead wolves that once roamed free, decides after capturing the she wolf that has been killing his father's cattle, that he will not add one more to the dead. So he decides to return her to her homeland and supposedly, safety. But that land has vanished. As all lands and creations, natural and man made, eventually must. That sense of vanishing lands, and lives, is the heart of this story.
Look at the way the fates of the wolf, then Billy's parents, then the Indians Billy and Boyd discover on their journey, then finally Boyd are all mirrors of what has gone before. The story of the wolf, trying to scratch out a living in a confusing world where nothing that is here today will be the same tomorrow, is beautifully echoed in Boyd's story. The three forms that Boyd takes in the narrative, ending with his poignant return from Mexico, hint that man's fate and the fate of the nature that he destroys - without thinking - every day, are ultimately the same.
McCarthy, like other great American writers, (Melville, Faulker, Toni Morrison) is not merely a writer but a prophet. A reminder that in a world of false realities there is still room for the purest (and rarest) of all blessings. The truth.
am 11. Mai 1996
The scenes rhythmically unfold into a desert dying on the vine. We think of T.S. Elliot's "The Wasteland;" we think of "The Grapes of Wrath." Everything that's real and unreal about America is spelled out onto a portrait of a border crossing. The youth and the old, the innocent and the guilty are painted like a canvas in classic western colors. Yet what is found across the great chasm to Mexico is as uncivilized as we are. McCarthy is rapt with language like a man obsessed. Slowly and deliberately, the young cowboy is made brutally aware that in the desert, it is each man for himself. We are reminded once again of that distincly American notion of manifest destiny.
It is a seamless book without end or beginning. Characters are distinctly lost in America. They only pause briefly to wipe the sand off their trousers and troll on through the desert. People have compared McCarthy to Faulkner. His prose is unsurpassed. Even the jacket reviewer called it, "luminous and appalling." Here's a little brush stroke: "He woke all night and at each waking the signature of Cassiopeia had swung further about the polestar and at each wakening all was as it had been and would forever be. At noon the following day he rode into Lordsburg."
am 23. Januar 1998
Cormac teaches you how to read him then he sweeps you through a metaphysical journey with his language and vision alone. A human drama progresses in there and the words as they are put together are the effective agents rather than the philosophy expounded. This code-like speak carries a rather simple experience of returning a wolf to its home into a monumental encounter with evil, care and obcession with the spiritual. Inventive ability puts McCarthy at the head of a class that includes even Faulkner. While there, you recognize he has done his research and he is painting a mostly tragic scene for man, nothing new but, the power overwhelms. The real writing stuff is here, you can't put the man down. You have to read this book if you intend to write anything that is powerful. Singularly addictive, this writing. Read all his books, this one is his best.
am 17. November 1999
Wow. This book touches some emotional chords that resonate long after the book is done. McCarthy gleans beauty and mystery out of sere uninhabited landscape, and presents complex philosophical musings from taciturn characters. The first part of the book, about Billy's capture of a wolf and his journey to return it to the mountains of its origins, will stay with me for a long time. The inherent intelligence of creatures - even "savage" creatures - is juxtaposed neatly against the cruel "developed" mind of man and his pastimes. And Billy's resolute belief in what is right and wrong rings true. Even in the face of teriffic odds and incredible hardship, Billy doesn't lose sight of his moral center. A center McCarthy mines with beauty and precision. Read this book.