There is no forgiveness. For women. A man may lose his honor and regain it again. But a woman cannot. She cannot.

There was a theme I was huntin' for, that first half. I wanted life to seem timeless and I did that through the sustained description of routine life for several vaqueros. But novels tolerate epic language only in moderation. To record with the same somber majesty every aspect of a cowboy's life, from a knife fight to his lunchtime burrito, is to create what can only be described as kitsch. CM : There's no such thing as life without bloodshed. I think the notion that the species can be improved in some way, that everyone could live in harmony, is a really dangerous idea. Those who are afflicted with this notion are the first ones to give up their souls, their freedom. Your desire that it be that way will enslave you and make your life vacuous.

Dark deeds and bad people

a b Zinoman, Jason (October 31, 2006). "A Debate of Souls, Torn Between Faith and Unbelief". The New York Times. Archived from the original on August 1, 2020 . Retrieved April 23, 2020. There's no such thing as life without bloodshed. The notion that the species can be improved in some way, that everyone could live in harmony, is a really dangerous idea. Those who are afflicted with this notion are the first ones to give up their souls, their freedom. Your desire that it be that way will enslave you and make your life vacuous. Billy, from “The Crossing,’ is older now and is working on a ranch in Southeastern New Mexico. The year is 1952. John Grady, a character from maybe “All the Pretty Horses,” is there too.

It is one of my favourite moments in literature. If the choice of “pale” by a writer with great range and control is not accidental, then we must take the rider in the scene to be the fourth horseman of the apocalypse, who rides the pale horse and is known by the name Death. Like a slow-acting hallucinogen, the book has managed to transform a Texas boy of 16 looking for adventure into a mysterious figure that augurs the destruction of the world. He is no longer John Grady. He is Death, and yet the concluding note is not quite ominous. Rather, it’s an ingenious sleight of hand, one that readies us for the long, meandering journey into the future, the vivid and intricate worlds and underworlds to come – in Book Two, and Book Three.If my writing doesn't affect you, then my writing is nothing more than a glorified journal entry. If it don't sell, then it stays with me. Critics disagree about the greater significance of Billy's encounters with the wolf. Wallis Sanborn argues that “[a]lthough noble, Parham’s mission to return the captured she-wolf to Mexico is abjectly flawed . . . [it is] nothing more than a man violently controlling a wild animal through the guise of pseudo-nobility” (143). [4] Raymond Malewitz argues that the wolf's "literary agency" becomes visible when Billy's way of thinking about the wolf conflicts with the way the narrator describes the creature. [5] Grady’s father may not have had much of a part of his raising but he knows one of the most important aspects of his life. Horses. His gift to Grady, the Hamley Formfitter saddle shows this. Throughout the novel, we learn of Grady’s relationship with horses and through this I came to think of this connection as elemental, a part of him as close as his own skin. He talks to his horses in Spanish, which because of his raising is probably his first language.

Siamo nel 1949, il progresso, l’industria, lo sviluppo economico avanzano e non si fermano di fronte alla nostalgia, di fronte a un pezzo di terra, davanti ai cavalli selvaggi. Le praterie sono destinate a diventare autostrade. Perhaps that disappointment cements his resolve to find meaning elsewhere, although it’s Rawlins who is the philosophical one:

Finding his place

Il ranch dove i due, John e Billy, lavorano e vivono è in territorio texano, la sera i due sconfinano in territorio messicano per andare a bere e a donne.