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( Jim O’sullivan ) 동국대학교 영어권문화연구소 2010 영어권문화연구 Vol.3 No.2
Cormac McCarthy’s ‘Naturalist-Sublime’ novel Blood Meridian, is a literary renunciation that is unique in the Western genre, in European and American literature in general, and in the McCarthy corpus also. It is a renunciation of all the philosophical schools that places man outside of nature, of all the mythologies that attend such schools of thought, whether these are classical theological ideas that place man dead-centre in the universe, or enlightenment variants which presuppose an ontological dualism between man and nature; a dualism that, in turn, helps subordinate nature as ancillary to mankind’s needs. It is also a renunciation of teleological or quasi-teleological ideas that argue that, in spite of modern history's sorrowful litany of genocidal madness, human civilization is inexorably moving towards a kingdom of God on earth. In this paper on Blood Meridian, I shall use Adorno’s aphorism on modern art, ‘The darkening of the world makes the irrationality of art rational: radically darkened art’ as a way of understanding the graphic violence in Blood Meridian as a rational response to a post-holocaust, post-enlightenment world. I shall argue further that the novel is not in any sense nihilistic, as some critics have argued, but is in fact an appropriately absurdist response to a darkening world.