McCarthy, raised in Knoxville, Tennessee, was compared to William Faulkner for his Old Testament style and rural settings.
McCarthy’s themes, like Faulkner’s, often were bleak and violent and dramatized how the past overwhelmed the present. Across stark and forbidding landscapes and rundown border communities, he placed drifters, thieves, prostitutes and old, broken men, all unable to escape fates determined for them well before they were born. As the doomed John Grady Cole of McCarthy’s celebrated “Border” trilogy would learn, dreams of a better life were only dreams, and falling in love an act of folly.
“I just had this image of these fires up on the hill … and I thought a lot about my little boy,” he said.“You would like for the people that would appreciate the book to read it. But, as far as many, many people reading it, so what?” he said. In 2022, Knopf made the startling announcement that it would release McCarthy’s first work in more than 15 years, a pair of connected novels he had referred to in the past: “The Passenger” and “Stella Maris,” narratives on a pair of mutually obsessed siblings and the legacy of their father, a physicist who had worked on atomic technology. “Stella Maris” was notable, in part, because it centered on a female character, an acknowledged weakness of McCarthy’s.
McCarthy said he was always lucky. He recalled living in a shack in Tennessee and running out of toothpaste, then going out and finding a toothpaste sample in the mailbox.
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