Southwestern American Literature

Volume XXV No. 1 (Fall 1999)

Editors' Page	iv

Guest Editor’s Introduction: Turning Pages Rick Wallach	5


Articles

Female Presence, Male Violence, and the Art of Artlessness in Cormac McCarthy’s Border Trilogy Patrick W. Shaw	11

From Mutilation to Penetration: Cycles of Conquest in Blood Meridian and All the Pretty Horses Molly McBride	24

“That immense and bloodslaked waste”: Negation in Blood Meridian Brady Harrison	35

“I aint come back rich, that’s for sure” or The Questioning of Market Economies in Cormac McCarthy’s Novels Christine Chollier	43

The Trapper Mystic: Werewolves in The Crossing S. K. Robisch	50

Chess in the Border Trilogy Marty Priola	55

“Doomed Enterprises”: McCarthy’s Mexican Representations Daniel Cooper Alarcón	58

“Mexico para los Mexicanos”: Revolution, Mexico, and McCarthy’s Border Trilogy John Wegner	67

The Last Stage of the Hero’s Evolution: Cormac McCarthy’s Cities of the Plain Charles Bailey	74

Blood in the Tracks: Catholic Postmodernism in The Crossing Jason Ambrosiano	83

The Myth that Loses, the Truth that Wins James M. Rawley	92

“Lo fantástico”: The Influence of Borges and Cortázar on the Epilogue of Cities of the Plain Stacey Peebles	105

The Process of Elimination: Tracing the Prodigal’s Irrevocable Passage through Cormac McCarthy’s Southern and Western Novels John Vanderheide	110

Art, Authenticity, and Social Transgression in Cormac McCarthy’s All the Pretty Horses Brock Clarke	117

“A Certain but Fugitive Testimony”: Witnessing the Light of Time in Cormac McCarthy’s Southwestern Fiction John Beck	124


Contributors	133

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Volume XXV No. 1 (Fall 1999)

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