The Road Sections 131-140 Quotes
The Road Sections 131-140 Quotes
How we cite the quotes:
Citations follow this format: (Section.Paragraph)
Quote 1
They followed the stone wall past the remains of an orchard. The trees in their ordered rows gnarled and black and the fallen limbs thick on the ground. He stopped and looked across the fields. Wind in the east. The soft ash moving in the furrows. Stopping. Moving again. He'd seen it all before. Shapes of dried blood in the stubble grass and gray coils of viscera where the slain had been field-dressed and hauled away. The wall beyond held a frieze of human heads, all faced alike, dried and caved with their taut grins and shrunken eyes. They wore gold rings in their leather ears and in the wind their sparse and ratty hair twisted about on their skulls. The teeth in their sockets like dental molds, the crude tattoos etched in some homebrewed woad faded in the beggared sunlight. [. . .] The heads not truncheoned shapeless had been flayed of their skins and the raw skulls painted and signed across the forehead in a scrawl and one white bone skull had the plate sutures etched carefully in ink like a blueprint for assembly. (140.1)
Some literary critics have compared Cormac McCarthy, specifically in his grosser moments like this one, to the eminent Joseph Conrad, author of Heart of Darkness. It's easy to see why. We don't think it takes too much straining to hear in this passage something similar to Joseph Conrad's description of Kurtz's camp deep in the Congo. (If you haven't read Heart of Darkness, Conrad also describes a collection of human skulls on spikes.) Both authors have a chilling precision when it comes to gore and violence.
Quote 2
By the time they got there it was dark of night. He held the boy's hand and kicked up limbs and brush and got a fire going. The wood was damp but he shaved the dead bark off with his knife and he stacked brush sticks all about to dry in the heat. Then he spread the sheet of plastic on the ground and got the coats and blankets from the cart and he took off their damp and muddy shoes and they sat there in silence with their hands outheld to the flames. He tried to think of something to say but he could not. He'd had this feeling before, beyond the numbness and the dull despair. The world shrinking down about a raw core of possible entities. The names of things slowly following those things into oblivion. Colors. The names of birds. Things to eat. Finally the names of things one believed to be true. More fragile than he would have thought. How much was gone already? The sacred idiom shorn of its referents and so of its reality. Drawing down like something trying to preserve heat. In time to wink out forever. (137.1)
Cormac really outdoes himself with the language here. We want to point out a very cool paradox, though. Just as McCarthy starts letting fly with some very beautiful and sinuous language, he slyly suggests just how fragile language is. What happens if the things words refer to disappear? Do our words for those things also cease to exist? And what if most things in the world cease to exist? Does language vanish as well? Here's McCarthy's fancy way of saying all that: "The sacred idiom shorn of its referents and so of its reality."
The boy was sitting on the steps when he saw something move at the rear of the house across the road. A face was looking at him. A boy, about his age, wrapped in an outsized wool coat with the sleeves turned back. He stood up. He ran across the road and up the drive. No one there. He looked toward the house and then he ran to the bottom of the yard through the dead weeds to a still black creek. Come back, he called. I wont hurt you. He was standing there crying when his father came sprinting across the road and seized him by the arm.
[The Man:] What are you doing? he hissed. What are you doing?
[The Boy:] There's a little boy, Papa. There's a little boy.
[The Man:] There's no little boy. What are you doing? (131.1-131.4)
Most of the "versions of reality" in The Road are dreams, but this one seems to be a hallucination. The Boy, whether from weariness or despair, imagines another boy – eerily similar to himself – across the road. There's tons of emotional projection in his vision: What happens if he, too, ends up abandoned? Is his own boyhood disappearing? Has he become frightful even to himself?