In his obituaries, Cormac McCarthy has been widely praised as a descendant of William Faulkner and Herman Melville among others, those excavators of the American spirit whose biblically influenced prose raised narratives to tragic and poetic heights
“It's like he was writing meta-Westerns,” says Kushner, author of “The Flamethrowers” and other novels. “He writes about people gripped by existential compulsion, who don't know why they do the things they do.”
Weiden — an enrolled citizen of the Sicangu Lakota nation whose debut novel, “Winter Counts,” centers on a Native vigilante at odds with the American legal system — came to appreciate the “audacity and ambition” of McCarthy and how he opened the genre to new kinds of stories. Like Weiden and Morris, author Rudy Ruiz didn’t immediately find McCarthy pleasurable or even understandable. He would end up rereading the same page multiple times, making sure he hadn’t missed something, and thought the despair and the loneliness of McCarthy's books “made them hard sometimes to engage with.”
Gordy Sauer, whose debut novel “Child in the Valley” came out in 2021, says that McCarthy's presence among contemporary writers of Westerns is so strong that you don't have to read him to be influenced by him — “Anyone coming after that has to contend at least in theory with what he did and what he meant to the genre,” Sauer says.
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