Abstract
creative relationship between men and manmade objects that populate their worlds grounds aesthetic project of Cormac McCarthy's Western novels. Parham fashions from a paloverde tree and rope serves as material intermediary between Parham and she-wolf that he traps, enabling a communion of sorts between young boy and last vestiges of a disappearing wild. John Grady Cole, romantic hero of All Pretty Horses, recalls his grandfather's stories of Native Americans as he gazes upon telegraph poles early in novel. In their ongoing attempts to disrupt communication between white settlers, the Comanche would cut wires and splice them back with horse-hair (11), a symbolic triumph of improvisational over technological that colors Cole's subsequent journey through surveyed and fenced enclosures of Western desert. Along similar lines, in Blood Meridian, Judge Holden establishes his status as suzerain of nature (198) through his interactions with objects - chief example being his creation of gunpowder from urine and volcanic sulfur. Within McCarthy's nostalgic novels, these instances of material manipulation and creation resonate with older, mythic notions of American identity. Despite their clear differences, Parham, John Grady Cole, and Judge are all self-made and selfsustaining men who would feel quite at home in nineteenthcentury literary worlds of Natty Bumppo, Huck Finn, or Henry David Thoreau. Each character resists modern world of economic
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