Cities of the Plain | 
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Product Description
In this magnificent new novel, the National Book Award-winning author of All the Pretty Horses and The Crossing fashions a darkly beautiful elegy for the American frontier.
The setting is New Mexico in 1952, where John Grady Cole and Billy Parham are working as ranch hands. To the North lie the proving grounds of Alamogordo; to the South, the twin cities of El Paso and Juarez, Mexico. Their life is made up of trail drives and horse auctions and stories told by campfire light. It is a life that is about to change forever, and John Grady and Billy both know it.
The catalyst for that change appears in the form of a beautiful, ill-starred Mexican prostitute. When John Grady falls in love, Billy agrees--against his better judgment--to help him rescue the girl from her suavely brutal pimp. The ensuing events resonate with the violence and inevitability of classic tragedy. Hauntingly beautiful, filled with sorrow, humor and awe, Cities of the Plain is a genuine American epic.
Amazon.com
On a ranch in southeastern Texas, soon after World War II, a group of solitary, inarticulately lonely men gathers to work animals as the sun sets for good on the mythic American West. All of these men nurse losses both personal (siblings or wives) and collective (a shared lifestyle and philosophy). Among them is John Grady Cole, the adolescent hero of the first book in Cormac McCarthy's Border trilogy, All the Pretty Horses. John Grady remains the magnificent horseman he always was, and he still dreams too much. On the ranch, he meets Billy Parham, whose own tragic sojourn through Mexico in The Crossing, the second book of the set, continues to quietly suffocate him. The two form a friendship that will nurture both but save neither from the destiny that McCarthy's characters always sense lurching to meet them. Soaked in storm-heavy atmosphere but brightened by the ranch-hands' easy camaraderie and gentle humor, Cities of the Plain surprises with its sweetness. The awkward doomed-romance plot at the center of this tight, concise novel fails to convince, but, remarkably, does little to undercut the book's impact. What lingers here, and what matters, are the brooding, eerie portraits of the plains and the riders, glimpsed mostly alone but occasionally leaning together, who slip across them, over the horizon into memory. --Glen Hirshberg
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Customer Reviews:
• Plain Spoken 21 July, 2007
If I'd known this was the third in a trilogy I never would have read it, not having read the other two. Might have been nice of the publisher to have put that somewhere on the cover--front or back--so people who are just browsing the shelves (like me) might have some idea what we're getting into. Just a suggestion.
Anyway, I suppose McCarthy's writing is fine if you enjoy the Hemingway style, which I don't. I'm not sure what's so beautiful about sentences that go "He shaved and showered and toweled off and got dressed." Seems kind of ugly actually. Reminds me of the stories I wrote in junior high. But he has a Pulitzer and a National Book Award and I don't. Take that!
So the conclusion to this supposed trilogy no one bothered to tell me was a trilogy is basically a Western-style "Romeo & Juliet" or "West Side Story" where two kids from opposing sides fall in love. In this case John Grady Cole is a cowboy on a small New Mexico ranch in 1952 and the girl is a 16-year-old Mexican whore. If you know anything about "Romeo & Juliet" you know how this is going to turn out.
A few of the author's style choices left me more than a little confused. Let's go down the list:
1. McCarthy doesn't use quotation marks so sometimes it's hard to know when someone is talking and when McCarthy is narrating.
2. McCarthy is adverse to using proper names so you end up with confusing pronoun use like: "After Oren had gone he sat over his coffee for a long time." Who's "he?" Oren was the last guy referred to but it doesn't make any sense if he left the room to be sitting over his coffee. This is especially a problem when the author starts out a new section or chapter with "He" and then we have to wait a few sentences to figure out the "He" in question.
3. Most aggravating of all is that the girl speaks only Spanish and McCarthy puts her lines IN Spanish. So tough luck if you don't know any Spanish. I wasn't too bad off since I took a few Spanish classes in high school, but some terms still threw me--and I didn't have a Spanish-English dictionary handy. If this were a movie we'd have the benefit of subtitles but in a novel we have to try and interpret the gist of it from the character's actions, sort of like playing charades.
I suppose that would have been fine for the unimportant characters, but a character central to the plot I sort of like to know what she's saying. Imagine if you were reading "Romeo & Juliet" and Juliet made all those romantic speeches to Romeo in Klingon? It just wouldn't have quite the same impact.
Another thing that bothered me is the characters are all so opaque. We never get inside their heads, so it's almost like a movie or TV show. The advantage of novels versus those mediums is that in a novel you can get inside the minds of the characters to see what makes them tick. Maybe since this was the conclusion of a trilogy the author figured he'd covered all that background already. But really I might as well have just popped in a DVD of "Unforgiven" or "Open Range" or something like that.
It's not all bad, though. Though I really can't substantiate it McCarthy seems to have a good eye for the period details. And there's some nice rapport between the cowboys that makes for good dialog. So at least it's not a boring read, except for the 30-page epilogue 50 years in the future that's mostly some old unnamed guy rambling on about dreams. I'm not sure what the point of that was.
Anyway, I suppose if you've read the other books in this supposed trilogy you'd be a lot better off than me.
That is all.
- Reviewed by customer ID: A3CA3RWZYJDWXE
• Omit Epilogue 05 September, 2007
I think the epilogue adds nothing to the novel, unless somehow I missed the point entirely. C. M. has elsewhere more skillfully put forth his theme that our destinies are predetermined practically from the "big bang" and that, appearances to the contrary, we really have no choices. The last thirty pages get to sound like a harangue.
Besides, I would have welcomed a novel about Billy's later life. I love C. M.'s beautifully descriptive language, and the series is ending too quickly for my taste.
- Reviewed by customer ID: A1V0EJ9FTATZSC
• A Fine Book 20 June, 2007
This novel concludes the Border Trilogy. It follows protagonists from "All the Pretty Horses" and "The Crossings" through a final epoch. John Grady falls in love with an epileptic prostitute in Mexico and the men go down to try to rescue her. Grady intends to marry her.
This was the least interesting of the three books. McCarthy documents the day-to-day life of a ranching culture fast dieing out. Most of the dialogue lacks the brilliance of the previous books. Many of the scenes and much of the dialogue are simple give and take, with little revelation or philosophy. The epilogue is the exception. A brilliant conversation, falling in and out of reality, probing the meaning of death and purpose of life, takes place between an aged Billy Parham and a stranger. This final chapter is classic McCarthy.
Unlike the other books, which can be read on their own, much of the gravity of this book relies on previous books. The book would have little meaning to the reader who did not read the previous works. And this perhaps takes something away from the work itself, though I don't know how one could conclude a trilogy without falling back on the previous works.
But there is something else that the book lacks. It meanders for the first 150 pages, seemingly without purpose. John Grady is in love with a prostitute, the army is buying up ranch land, a way of life is dieing out.... The other books begin with a very clear direction, and though that direction shifts, there is always a strong sense of purpose to the narrative. The characters are driven and their actions and dialogue are inspired. There is tension. "Cities" falls short of that expectation. It is not a bad book, but it is not nearly as good as the others.
So much of the book is written in Spanish. There are entire paragraphs of conversation. McCarthy offer no explanation or restatement. I don't know what it would be like to read the book and not be able to read the conversations. I suspect that it would be annoying. But as a reader who can follow both conversations, the use of the Spanish seems authentic and almost expected.
- Reviewed by customer ID: A3SI6F1RGCTAOH
• Gripping 04 January, 2008
The conclusion of Cormac McCarthy's Border Trilogy is a solemn and beautiful exploration on the erosion of the classical west. McCarthy's dialog is truly masterful and naturalistic-the swing of the interactions paints a remarkably vivid picture of friendship and trust. We are also fed typical McCarthy elements: horrendous violence, prostitution, dog fights, horses, and sun-baked malaise. I found that the guarded and impenetrable nature of the protagonist's stoicism made them even more intriguing, and the climactic sequence demonstrates an impressive ability to manipulate tension. Cities of the Plain is a very fine aesthetic accomplishment, even if the concluding sequence is overly self-conscious and postmodern.
- Reviewed by customer ID: A114YQ7ZT9Y1W5
• The Ending Of Two 28 June, 2008
It's been a while since I've read good fiction, and it seems I've read some stinkers of late.
But I went back to McCarthy and was welcomed back to his violent Texas border town world with open arms.
John Grady and Billy Parham were each the focus in their respective narratives about them, The Crossing and All The Pretty Horses, and here's where they story ends, or what comes to be of these two cowboys.
They're together on a ranch, working as hands, and John Grady falls in love with a young Mexican prostitute, and this sets the back drop of what happens in the novel.
It's rare to laugh out loud at a book, but I did this several times while reading the exchanges between the two main characters and the other ranch hands. There' s a love between them, for what they do and what they are, and you can see in the wording.
As much as I laughed at the dialogue, these books are never an easy pill to swallow with Cormac, as he takes you to places you don't want to go, and people die who you don't want to die. But isn't that a way to show how powerful his writing is?
In other stories, in most pop fiction, I'm not going to lose sleep over who is killed and who is let to live, but McCarthy connects you with his characters, with their flesh, weaknesses and flaws, and also with their more honorable sides. He makes you give a hang.
John Grady Cole wanted to take a girl who was in trouble, and give her a good life, not even mentioning that he loved her, and that is such a good sentiment and a powerful gesture. Everyone was against it but her and him, and he goes for it anyway.
This wasn't my favorite out of the Border trilogy. Most would pick All The Pretty Horses, but my heart places The Crossing above the rest.
That being said, this is a great read, and I highly recommend picking it up if you are a fan of modern day Westerns (set in the 30's or 40's), or if you are a fan of McCarthy.
- Reviewed by customer ID: ANCUOKFJOQ4CS
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