Cormac McCarthy Quote

When he was gone the men on the bench began to laugh. One of them rose to better see the map. Es un fantasma, he said. Fantasma? Sí, sí. Claro. Cómo? Cómo? Porque el viejo está loco es como. Loco?Billy stood looking at the map. No es correcto? he said. The man threw up his hands. He said that what they beheld was but a decoration. He said that anyway it was not so much a question of a correct map but of any map at all. He said that in that country were fires and earthquakes and floods and that one needed to know the country itself and not simply the landmarks therein. Besides, he said, when had that old man last journeyed to those mountains? Or journeyed anywhere at all? His map was after all not really so much a map as a picture of a voyage. And what voyage was that? And when? Un dibujo de un viaje, he said. Un viaje pasado, un viaje antigun. He threw up one hand in dismissal. As if no more could be said. Billy looked at the other three men on the bench. They watched with a certain brightness of eye so that he wondered if he were being made a fool of. But the one seated at the right leaned forward and tapped the ash from his cigarette and addressed the man standing and said that as far as that went there were certainly other dangers to a journey than losing one's way. He said that plans were one thing and journeys another. He said it was a mistake to discount the good will inherent in the old man's desire to guide them for it too must be taken into account and would in itself lend strength and resolution to them in their journey. The man who was standing weighed these words and then erased them in the air before him with a slow fanning motion of his forefinger. He said that the jovenes could hardly be expected to apportion credence in the matter of the map. He said that in any case a bad map was worse than no map at all for it engendered in the traveler a false confidence and might easily cause him to set aside those instincts which would otherwise guide him if he would but place himself in their care. He said that to follow a false map was to invite disaster. He gestured at the sketching in the dirt. As if to invite them to behold its futility. The second man on the bench nodded his agreement in this and said that the map in question was a folly and that the dogs in the street would piss upon it. But man on the right only smiled and said that for that matter the dogs would piss upon their graves as well and how was this an argument?The man standing said that what argued for one case argued for all and that in any event our graves make no claims outside of their own simple coordinates and no advice as to how to arrive there but only the assurance that arrive we shall. It may even be that those who lie in desecrated graves-by dogs of whatever manner-could have words of a more cautionary nature and better suited to the realities of the world. At this the man at the left who'd so far not spoke at all rose laughing and gestured for the two boys to follow and they went with him out of the square and into the street leaving the disputants to their rustic parkbench tertulia.

Cormac McCarthy

When he was gone the men on the bench began to laugh. One of them rose to better see the map. Es un fantasma, he said. Fantasma? Sí, sí. Claro. Cómo? Cómo? Porque el viejo está loco es como. Loco?Billy stood looking at the map. No es correcto? he said. The man threw up his hands. He said that what they beheld was but a decoration. He said that anyway it was not so much a question of a correct map but of any map at all. He said that in that country were fires and earthquakes and floods and that one needed to know the country itself and not simply the landmarks therein. Besides, he said, when had that old man last journeyed to those mountains? Or journeyed anywhere at all? His map was after all not really so much a map as a picture of a voyage. And what voyage was that? And when? Un dibujo de un viaje, he said. Un viaje pasado, un viaje antigun. He threw up one hand in dismissal. As if no more could be said. Billy looked at the other three men on the bench. They watched with a certain brightness of eye so that he wondered if he were being made a fool of. But the one seated at the right leaned forward and tapped the ash from his cigarette and addressed the man standing and said that as far as that went there were certainly other dangers to a journey than losing one's way. He said that plans were one thing and journeys another. He said it was a mistake to discount the good will inherent in the old man's desire to guide them for it too must be taken into account and would in itself lend strength and resolution to them in their journey. The man who was standing weighed these words and then erased them in the air before him with a slow fanning motion of his forefinger. He said that the jovenes could hardly be expected to apportion credence in the matter of the map. He said that in any case a bad map was worse than no map at all for it engendered in the traveler a false confidence and might easily cause him to set aside those instincts which would otherwise guide him if he would but place himself in their care. He said that to follow a false map was to invite disaster. He gestured at the sketching in the dirt. As if to invite them to behold its futility. The second man on the bench nodded his agreement in this and said that the map in question was a folly and that the dogs in the street would piss upon it. But man on the right only smiled and said that for that matter the dogs would piss upon their graves as well and how was this an argument?The man standing said that what argued for one case argued for all and that in any event our graves make no claims outside of their own simple coordinates and no advice as to how to arrive there but only the assurance that arrive we shall. It may even be that those who lie in desecrated graves-by dogs of whatever manner-could have words of a more cautionary nature and better suited to the realities of the world. At this the man at the left who'd so far not spoke at all rose laughing and gestured for the two boys to follow and they went with him out of the square and into the street leaving the disputants to their rustic parkbench tertulia.

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About Cormac McCarthy

Cormac McCarthy (born Charles Joseph McCarthy Jr.; July 20, 1933 – June 13, 2023) was an American writer who authored twelve novels, two plays, five screenplays, and three short stories, spanning the Western and postapocalyptic genres. His works often include graphic depictions of violence, and his writing style is characterised by a sparse use of punctuation and attribution. He is widely regarded as one of the greatest American novelists.
McCarthy was born in Providence, Rhode Island, although he was raised primarily in Tennessee. In 1951, he enrolled in the University of Tennessee, but dropped out to join the U.S. Air Force. His debut novel, The Orchard Keeper, was published in 1965. Awarded literary grants, McCarthy was able to travel to southern Europe, where he wrote his second novel, Outer Dark (1968). Suttree (1979), like his other early novels, received generally positive reviews, but was not a commercial success. A MacArthur Fellowship enabled him to travel to the American Southwest, where he researched and wrote his fifth novel, Blood Meridian (1985). Although it initially garnered a lukewarm critical and commercial reception, it has since been regarded as his magnum opus, with some labeling it the Great American Novel.
McCarthy first experienced widespread success with All the Pretty Horses (1992), for which he received both the National Book Award and the National Book Critics Circle Award. It was followed by The Crossing (1994) and Cities of the Plain (1998), completing The Border Trilogy. His 2005 novel No Country for Old Men received mixed reviews. His 2006 novel The Road won the 2007 Pulitzer Prize for Fiction and the James Tait Black Memorial Prize for Fiction.
Many of McCarthy's works have been adapted into film. The 2007 film adaptation of No Country for Old Men was a critical and commercial success, winning four Academy Awards, including Best Picture. The films All the Pretty Horses, The Road, and Child of God were also adapted from his works of the same names, and Outer Dark was turned into a 15-minute short. McCarthy had a play adapted into a 2011 film, The Sunset Limited.
McCarthy worked with the Santa Fe Institute, a multidisciplinary research center, where he published the essay "The Kekulé Problem" (2017), which explores the human unconscious and the origin of language. He was elected to the American Philosophical Society in 2012. His final novels, The Passenger and Stella Maris, were published on October 25, 2022, and December 6, 2022, respectively.