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Fall 1999

Volume XXV No. 1 (Fall 1999)


Editors' Page iv
Guest Editor’s Introduction: Turning Pages
Rick Wallach
5

Articles

Titles Page Number
Female Presence, Male Violence, and the Art of Artlessness in Cormac
McCarthy’s Border Trilogy
Patrick W. Shaw
11
From Mutilation to Penetration: Cycles of Conquest in Blood Meridian
and All the Pretty Horses
Molly McBride
24
“That immense and bloodslaked waste”: Negation in Blood Meridian
Brady Harrison
35
“I aint come back rich, that’s for sure” or The Questioning of Market
Economies in Cormac McCarthy’s Novels
Christine Chollier
43
The Trapper Mystic: Werewolves in The Crossing
S. K. Robisch
50
Chess in the Border Trilogy
Marty Priola
55
“Doomed Enterprises”: McCarthy’s Mexican Representations
Daniel Cooper Alarcón
58
“Mexico para los Mexicanos”: Revolution, Mexico, and McCarthy’s
Border Trilogy
John Wegner
67
The Last Stage of the Hero’s Evolution: Cormac McCarthy’s
Cities of the Plain
Charles Bailey
74
Blood in the Tracks: Catholic Postmodernism in The Crossing
Jason Ambrosiano
83
The Myth that Loses, the Truth that Wins
James M. Rawley
92
“Lo fantástico”: The Influence of Borges and Cortázar on the Epilogue
of Cities of the Plain
Stacey Peebles
105
The Process of Elimination: Tracing the Prodigal’s Irrevocable Passage
through Cormac McCarthy’s Southern and Western Novels
John Vanderheide
110
Art, Authenticity, and Social Transgression in Cormac McCarthy’s
All the Pretty Horses
Brock Clarke
117
“A Certain but Fugitive Testimony”: Witnessing the Light of Time in
Cormac McCarthy’s Southwestern Fiction
John Beck
124
Contributors 133