La trilogia della frontiera ha portato i suoi protagonisti a varcare più volte confini diversi – quelli geografici, tra stati, tra USA e Mexico, quelli con la legge, nel momento in cui si accetta che rubare e uccidere possono essere una forma di giustizia, quelli esistenziali, i passaggi di età – ora, nel finale di questo terzo capitolo sembra varcare anche il confine del tempo. The novel is the final entry in a trilogy that began with All the Pretty Horses, followed by The Crossing.

I wanted life to seem timeless and I did that through the sustained description of routine life for several vaqueros. John Grady Cole falls in love with a young girl who suffers from epilepsy and works in a Mexican brothel.If John Grady Cole's adventures have about them a kind of innocence, Billy Parham's seem to be about fate and expiation. The author exhaled through both nostrils making an opaque column of smoke that stretched uniformly to the wooden cubierta. L’uomo pensa di avere il controllo del proprio destino, di poter scegliere da sé i propri orizzonti e valori, ma la sua storia è già scritta da quando è scritta la storia del mondo, perché la storia del mondo e degli uomini che lo abitano sono la medesima storia.

From antiquity the church has assigned an episode from the life of Christ as recorded in Luke chapter 18 to be read on that day. His works adapted to film include All the Pretty Horses, The Road, and No Country for Old Men-- the latter film receiving four Academy Awards, including the award for Best Picture . E, infine, gli è stato concesso di assistere allo spettacolo impietoso di una tragedia annunciata, annunciata ai/dai personaggi e già intimamente nota al lettore. Eduardo is the mysterious whorehouse boss dressed in black with affected manner and speech who would calmly and graciously describe the manner of your death even as he killed you.Solo due o tre cose, perché nulla si può aggiungere ad una tragica poesia… A fine lettura della trilogia, certo non posso dire di non essermi resa conto del continuo ricorrere del tema della ricerca di sé, del proprio posto nel mondo, del cammino, ma ciò che mi ha colpito per la sua “gentilezza” è il tema dell’ospitalità nei confronti del viandante e l’atteggiamento di facile accettazione da parte di quest’ultimo di ciò che gli viene offerto, senza convenevoli. The bottom drops out into violence and conflict when John Grady and the 16-year old daughter of the owner fall in love. Most of the sites were completely or nearly completely abandoned as settlements in the early 2nd century BCE, often with evidence of violent destruction, and only a handful survived as smaller regional centres under the Roman administration. The laminate of the glass was belled in softly to hold him and his wings were spread wide and he lay in the concentric rings and rays of the wrecked glass like an enormous moth in a web. As a trilogy I'd say this is somewhat repetitive and it's worth leaving some space between the individual books - but it's unlike anything else I've read: the brooding landscapes of Hardy combined with the blood-sex themes of DH Lawrence, all given a U.

Aware that he needs money, John Grady also pawns his grandfather’s pistol and sells his prized horse.

After drifting across the Southwest for many years, working ranches and living in hotels, Billy, homeless, takes shelter beneath a highway underpass. The most moving relationships though are those the boy shares with the elderly Mac and his friend Billy. I even thought about how he sold his gun just so he could sleep with her, and I think that he may need it. Not least is that Magdalena (her real name) works for a pimp who also happens to be in love with her.

Indeed, once John Grady's rescue plan has been hatched the intervening episodes transition into that inevitable ticking clock of subject-verb-object prose. After John Grady's death, a short epilogue—not unlike the conclusion of Blood Meridian (1985)—details, in a few pages, the next several decades of Billy's life. The two are quite different, yet see in each other something of value, and it's their brotherly chemistry, conversation and care for one another that sucks the reader in, capturing their emotions entirely. Many times throughout all three books our American cowboys find themselves starving or injured or pursued by corrupt intent, only to be taken in by whoever lives in the next hovel the Americans stumble into. Much of that philosophy is religious, based on the Virgin, but much of it is a hard-won stoic and articulate philosophy of the vagaries of life and death and fate, honed from generations of happenstance violence and poverty and the endless cycle of season and time.And the violence when it comes is brutal and painful, exploding in tense scenes from which we cannot look away. It didn't have the same emotional depth that I felt the previous books had, but it also had more action and exciting elements than book two. To the south, always on the horizon are the mountains of Mexico, looming over El Paso, Ciudad Juárez and all the cities of the plain. Perhaps an hour too long, what little story there is has finished and we are then given a little too much philosophy. The novel can surely be read on its own, but those who have read the earlier novels in the trilogy will find a richer reward.