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The Place of Dead Roads’ is a picaresque novel, the centrepiece of the ‘Cities of Red Night’ trilogy, and stands as an excellent introduction to William Burroughs’ thematic and stylistic concerns.

The novelist Peter Ackroyd characterised ‘Cities of Red Night’ – and by extension, its sequels – as “an obsessional landscape” and the choice of adjective is telling. Burroughs’ concerns are broad, cosmic, fundamental but the tent-pegs of the whole circus are, by necessity, ground-level: addiction, power, alienation, beauty and attraction, ugliness and repulsion. He is an existential writer and thinker, like Camus and hence the ‘naked lunch’ of his most infamous work: the moment when one sees “exactly what is at the end of one’s fork” without evasion or denial.

The Place of Dead Roads’ details the lot of one Kim Carsons; child of the Old West, outlaw gun-fighter, rogue shaman and Man with a Plan. His life charts the transition from a landscape dominated by the often savage realities of the Frontier to a 20th Century reality, tacitly preoccupied with the science fiction concerns of the Modern era and ruled over by “evil old men who play poker” and “are constitutionally immune to the effects of bourbon”.

Obstensibly a western, ‘Place of Dead Roads’ is one of Burroughs’ most conventionally novelistic works. It’s the book of his that I always recommend to people new to him,  along with ‘Junkie’ his first book, a fictionalised memoir of heroin addiction. Both books have an overt through-line running from beginning to end that functions in lieu of a ‘plotline’, both expand subjective vision into something world-encompassing, bizarre and bordering- often tipping over- into alien dreamscapes.

A word of supposed issues of ‘difficulty’: Burrough’s prose has a bristling, tense quality that he often allows to disintegrate into seemingly disjointed and agrammatical poetry. This doesn’t happen “without warning” but is a feature of style, used to convey the impressionistic agrammatical nature of Thought, Dream and Character. This shift from style to a deliberate sort of ‘anti-style’ is based the ‘Cut-Up Method’, the random rearrangement of words in a  text to create a collage without the thought-conditioning influence of ordinary grammar.

Dream was important to William Burroughs. He dispenses with the conventions of traditional narrative often as abruptly as one’s dreaming mind will and with similar purpose- to communicate an urgent sense of a particular place, mentality or counter-intuitive connection, without the distancing affect of descriptive prose.

This aside, the writing is curt, concise and indeed precise. Burroughs picks his moment to go “experimental”,aiming to urgently communicate his concerns, concerns about the present, the forgotten past, concerns about an post-human future and above all the realities of CONTROL. You’ll also learn a lot about guns, shamanism and the occult and you’ll read about a lot of fine young men having sex with each other. Highly recommended for heads.

Review by Ruairi Conneely, Seven Towers Books.

The Judge tilted his great head. The man who believes that the secrets of the world are forever hidden lives in mystery and fear. Superstition will drag him down. The rain will erode the deeds of his life. But that man who sets himself the task of singling out the thread of order from the tapestry will by the decision alone have taken charge of the world and it is only by such taking charge that he will effect a way to dictate the terms of his own fate.

Blood Meridian is a story about violence and history – the savage underbelly of civilization. McCarthy repeatedly uses  ‘meridian’ to describe the divide between day and night, life and death. It is also the border between America and Mexico, the white man and all other races. This is a novel heavy with portentousness and symbolism, but also seeping with horrific images of death.

The Kid is born in Tennessee. At age fourteen he sets out to find his fortune. He finds work where he can and travels when he has some money to his name. He takes to drinking and fighting in bars. He has two fateful early encounters with men that will later become important in his life. The first is a fellow wanderer named Toadvine. The second is known to most as the Judge. The Kid witnesses him falsely accusing a preacher of sodomy and inciting a lynch mob.

Living by his wits only gets the Kid so far and eventually his aimless life leads him to join a company of soldiers on an ill-advised sortie across the Mexican border. Once across the border, the Kid is catapulted into a life of violence and death. Apache prowl the Mexican desert and wolves track men during the night. Then the Judge finds him once again. He has taken command of a group of hired killers and they have a contract for Indian scalps.

This is the first Cormac McCarthy book I have ever read. I have very little knowledge of him, apart from Owen Wilson’s mocking caricature in The Royal Tenenbaums. Wes Anderson was a bit on the nose there. This is compelling writing, with the Judge leading his men across the Mexican landscape like Captain Ahab. Is he really a man, or the devil himself? The book is written in a quasi-Biblical language, ripe with hellish imagery and Jacobean excess. The campaign of violence waged by the Americans is unrelenting, slaughtering peaceful villages and rampaging through unsuspecting townships. One scene in particular has a bar-room fight spill out into the street, encountering a funeral procession and resulting in a massacre. For long passages of the book the Kid himself drops out of sight and we are left in the company of the Judge and his right-hand man Glanton, or Toadvine the Kid’s sometime ally. There is also an ex-priest named Tobin, who does not shirk from killing.

However, the story promises a final confrontation between the Kid and the Judge, the two of them continually meeting  despite all odds. Here, McCarthy sets up a further contrast, another meridian, this time the divide between a man who thinks he is free and one who knows he is master. The Kid is quick to anger, surly and not given to speak much. The Judge on the other hand waxes lyrical constantly, can be charming and kind in action, capable of speaking many different languages. He is also given to lectures on religion and the law, which he uses to confound those who investigate the crimes committed by his men. Beneath all of his culture and wit beats the heart of a monster, unrelenting and cruel. McCarthy has created a truly diabolical villain, one who would destroy anything he cannot control and wipe away all trace of it.

I can see why Hollywood tries to adapt McCarthy to the screen so often. The imagery of Blood Meridian often feels intensely cinematic. I would argue though that this is more due to the author’s use of language, which flows and ebbs on the page, a quality that would be very difficult to replicate on screen. However, this is bloody and intense plotting, certainly not making for a nice evening’s entertainment. In terms of a masterclass though, as an opportunity to observe a writer in full command of his craft, I thoroughly recommend it.

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