No Country For Old Men

From the bestselling author of The Passenger and the Pulitzer Prize–winning novel The Road comes a "profoundly disturbing and gorgeously rendered" novel (The Washington Post) that returns to the Texas-Mexico border, setting of the famed Border Trilogy. The time is our own, when rustlers have given way to drug-runners and small towns have become free-fire zones. One day, a good old boy named Llewellyn Moss finds a pickup truck surrounded by a bodyguard of dead men. A load of heroin and two million dollars in cash are still in the back. When Moss takes the money, he sets off a chain reaction of catastrophic violence that not even the law—in the person of aging, disillusioned Sheriff Bell—can contain. As Moss tries to evade his pursuers—in particular a mysterious mastermind who flips coins for human lives—McCarthy simultaneously strips down the American crime novel and broadens its concerns to encompass themes as ancient as the Bible and as bloodily contemporary as this morning’s headlines. No Country for Old Men is a triumph. Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.

Savage violence and cruel morality reign in the backwater deserts of Cormac McCarthy's No Country for Old Men, a tale of one man's dark opportunity – and the darker consequences that spiral forth. Adapted for the screen by the Coen Brothers (Fargo, True Grit), winner of four Academy Awards (including Best Picture). 'A fast, powerful read, steeped with a deep sorrow about the moral degradation of the legendary American West' – Financial Times 1980. Llewelyn Moss, a Vietnam veteran, is hunting antelope near the Rio Grande when he stumbles upon a transaction gone horribly wrong. Finding bullet-ridden bodies, several kilos of heroin, and a caseload of cash, he faces a choice – leave the scene as he found it, or cut the money and run. Choosing the latter, he knows, will change everything. And so begins a terrifying chain of events, in which each participant seems determined to answer the question that one asks another: how does a man decide in what order to abandon his life? 'It's hard to think of a contemporary writer more worth reading' – Independent Part of the Picador Collection, a series showcasing the best of modern literature. Praise for Cormac McCarthy: ‘McCarthy worked close to some religious impulse, his books were terrifying and absolute’ – Anne Enright, author of The Green Road and The Wren, The Wren 'His prose takes on an almost biblical quality, hallucinatory in its effect and evangelical in its power' – Stephen King, author of The Shining and the Dark Tower series '[I]n presenting the darker human impulses in his rich prose, [McCarthy] showed readers the necessity of facing up to existence' – Annie Proulx, author of Brokeback Mountain

Llewelyn Moss, hunting antelope near the Rio Grande, stumbles upon a transaction gone horribly wrong. Finding bullet-ridden bodies, several kilos of heroin, and a caseload of cash, he faces a choice - leave the scene as he found it, or cut the money and run. Choosing the latter, he knows, will change everything. And so begins a terrifying chain of events, in which each participant seems determined to answer the question that one asks another: how does a man decide in what order to abandon his life?

Collected interviews with the quirky and distinctive writer/director team of such films as Raising Arizona, Intolerable Cruelty, and Barton Fink

In 2005, Cormac McCarthy's novel, No Country for Old Men, was published to wide acclaim, and in 2007, Ethan and Joel Coen brought their adaptation of McCarthy's novel to the screen. The film earned praise from critics worldwide and was honored with four Academy Awards', including Best Picture, Best Director, and Best Adapted Screenplay. In No Country for Old Men: From Novel to Film, scholars offer varied approaches to both the novel and the award-winning film. Beginning with several essays dedicated entirely to the novel and its place within the McCarthy canon, the anthology offers subsequent essays focusing on the film, the adaptation process, and the Coen Brothers more broadly. The book also features an interview with the Coen brothers' long-time cinematographer Roger Deakins. This entertaining and enriching book for readers interested in the Coen Brothers' films and in McCarthy's fiction is an important contribution to both literature and film studies.

The screenplay for McCarthy's classic film, bearing in full measure his gift—the ability to fit complex and universal emotions into ordinary lives and still preserve all of their power and significance In the spring of 1975 the film director Richard Pearce approached Cormac McCarthy with a screenplay idea. Though already a widely acclaimed novelist, the author of such modern classics as The Orchard Keeper and Child of God, McCarthy had never before written a screenplay. Using a few photographs in the footnotes to a 1928 biography of a famous pre–Civil War industrialist as inspiration, McCarthy and Pearce roamed the mill towns of the South researching their subject. A year later McCarthy finished The Gardener's Son, a taut, riveting drama of impotence, rage, and violence spanning two generations of mill owners and workers, fathers and sons, during the rise and fall of one of America's most bizarre utopian industrial experiments. Produced as a two-hour film and broadcast on PBS in 1976, The Gardener's Son received two Emmy Award nominations and was shown at the Berlin and Edinburgh Film Festivals. Set in Graniteville, South Carolina, The Gardener's Son is the tale of two families: the wealthy Greggs, who own and operate the local cotton mill, and the McEvoys, a family of mill workers beset by misfortune. The action opens as Robert McEvoy, a young mill worker, is having his leg amputated after an accident rumored to have been caused by James Gregg, the son of the mill's founder. Crippled and consumed by bitterness, McEvoy deserts both his job and his family. Returning two years later at the news of his mother's terminal illness, McEvoy arrives only to confront the grave diggers preparing her final resting place. His father, the mill's gardener, is now working on the factory line, the gardens forgotten. These proceedings stoke the slow-burning rage McEvoy carries within him, a fury that will ultimately consume both families.

From the award-winning, bestselling author of Deliverance and Buckdancer's Choice comes the heart-stopping story of an American tail-gunner who parachutes from his burning plane into Tokyo during the final months of World War II. "A first-rate adventure story".--Newsweek.

'Hannah August's intelligent and humane study illuminates, sometimes uncomfortably, the ways in which our demographics are changing and our attitudes are not. This is public intellection that is curious, rigorous, and highly relevant to our time.' Eleanor Catton In 2013, there were over 66,000 more women between the ages of 25-49 living in New Zealand than there were men. This so-called ‘man drought’ is a hot topic for journalists and academics alike, who comment on how the situation might affect New Zealand women’s chances of finding love. Yet they rarely stop to ask women their own opinions on the matter. In this BWB Text, Hannah August does just that, integrating interview material, statistics and cultural commentary in order to demonstrate why we need to talk differently about the ‘man drought’.

Whether expressed in theological or secular terms, evil poses a problem about the world's intelligibility. It confronts philosophy with fundamental questions: Can there be meaning in a world where innocents suffer? Can belief in divine power or human progress survive a cataloging of evil? Is evil profound or banal? Neiman argues that these questions impelled modern philosophy. Traditional philosophers from Leibniz to Hegel sought to defend the Creator of a world containing evil. Inevitably, their efforts--combined with those of more literary figures like Pope, Voltaire, and the Marquis de Sade--eroded belief in God's benevolence, power, and relevance, until Nietzsche claimed He had been murdered. They also yielded the distinction between natural and moral evil that we now take for granted. Neiman turns to consider philosophy's response to the Holocaust as a final moral evil, concluding that two basic stances run through modern thought. One, from Rousseau to Arendt, insists that morality demands we make evil intelligible. The other, from Voltaire to Adorno, insists that morality demands that we don't.

Once a country of emigration and diaspora, in the 1990s Ireland began to attract immigration from other parts of the world: a new citizenry. By the first decade of the twenty-first century, the ratio between GDP and population placed Ireland among the wealthiest nations in the world. The Peace Agreements of the mid-1990s and the advent of power-sharing in Northern Ireland have enabled Ireland's story to change still further. No longer locked into troubles from the past, the Celtic Tiger can now leap in new directions. These shifts in culture have given Irish literature the opportunity to look afresh at its own past and, thereby, new perspectives have also opened for Irish Studies. The contributors to this volume explore these new openings; the essays examine writings from both now and the past in the new frames afforded by new times.