Fuck it, there's no archive
What's the best McCarthy after Blood Meridian, Suttree and Child of God?
Did he really go to shit recently like Pynchon and Dellilo
i enjoyed outer dark and the sunset limited,
i liked the first two books in the border trilogy but wasn't all that into cities of the plain. i found it disappointing and the start of his jumped up screenplay phase/decline
A lot of the kind of readers who are attracted to 4chan and /lit/ are young men who want to prove themselves. They tend to attempt this by taking on convoluted fiction.
The Road is a simple and emotionally impactful story about stuff that self-absorbed young men may have a hard time identifying with.
These kinds of psychological explanations whereby you condense lit into a person and then probe their motivations isn't helpful. For example.
This is the kind of poster than needs to feel superior to others on the board and so takes a stance of puffed up emotional maturity. He achieves this by pretended sincerity by ready short, easy works of simple prose.
All you have done is made a strawman. Their may be people like that on lit but to roll everyone on this board who doesn't like The Road into a bunch of wannabe hipsters is every bit as self-absorbed as what you are critiquing.
As it stands on its own it's a romantically idealized Western adventure story told with McCarthy's top tier prose, what's not to love?
The novel is made more significant by its location within the trilogy. It serves as a romantic beginning to what is essentially an allegorical re-telling of the death of American romanticism. This is why by the time you reach Cities of The Plain (slightly unrelated but, if it wasn't obvious by the twin protagonists, it also serves as a dialectic conclusion to the first two works) starry eyed teenage love affairs are replaced by epileptic prostitutes and escaping the high adventure of the frontier with a few scrapes becomes
All The Pretty Horses is endearing because it's essentially one of the greatest living American prose artists giving us his vision of the naive optimism that so encapsulated 19/20th century America through nostalgic emanations of the collective idealism that can now only be reached via Ennio Morricone soundtracks.
Read as these two competing narratives: a straightforward romantic western and an almost Hegellian account of the progression of the American soul, the trilogy serves equally as McCarthy's most accessible and his most ambitious work (except for maybe Blood Meridian)