Reconsidering Horses and Horsemanship in Blood Meridian and the Border Trilogy

Sanborn
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Abstract

abstract:Horsemanship as Cormac McCarthy represents it in his novels of the border Southwest is a variable craft—horsemanship contingent upon the particular needs and practices of the horsemen in each work. In Blood Meridian, the scalphunters use horses as tools to aid in killing. In All the Pretty Horses, John Grady Cole's abilities with horses strain credulity as a nearly chimerical communicative experience exists between the working cowboy and his horses. In The Crossing, Billy and Boyd Parham, who are not professional cowboys, use horses as vehicles, and Billy's horsemanship rests upon an emotional bond to the Parham horses, a bond that is based upon his psychological and emotional ties to the horses. In Cities of the Plain, horsemanship returns to the horse as tool for both constructive utility and extermination, while the working cowboys use horses to eradicate a wild dog population in a bloody excursion that mirrors Blood Meridian and All the Pretty Horses. Thus, in Blood Meridian and the Border Trilogy, horsemanship is a gradation shaped by the means and purposes of the riders as well as the historical locus in which the works are set.
再论《血子午线》和《边界》三部曲中的马匹和骑术
科马克·麦卡锡在他的西南边境小说中所表现的骑术是一种多变的工艺骑术,取决于每一部作品中骑手的特殊需要和实践。在《血色子午线》中,猎牛者用马作为辅助杀人的工具。在《骏马全集》中,约翰·格雷迪·科尔(John Grady Cole)驾驭马的能力打破了人们的轻信,因为在工作的牛仔和他的马之间存在着一种近乎虚幻的交流体验。在《十字路口》中,Billy和Boyd Parham都不是专业的牛仔,他们把马当作交通工具,Billy的骑术建立在他和Parham的马之间的情感纽带上,这种纽带是基于他和马之间的心理和情感纽带。在《平原之城》中,马术又回到了马身上,它既是建设性的工具,也是灭绝的工具,而牛仔们则用马来消灭野狗,这是一场血腥的旅行,反映了《血色子午线》和《骏马全集》。因此,在《血子午线》和《边界》三部曲中,骑术是由骑手的手段和目的以及作品所设定的历史轨迹所塑造的一个层次。
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