"Representations and Things" in Cormac McCarthy's "Blood Meridian, Or, The Evening Redness in the West"

<b>The “masterpiece” (Michael Herr) of the <i>New York Times</i> bestselling, Pulitzer Prize–winning author of <i>The Road, No Country for Old Men, The Passenger,</i> and <i>Stella Maris</i> <br>  <br>“Cormac McCarthy is the worthy disciple both of Melville and Faulkner. I venture that no other living American novelist, not even Pynchon, has given us a book as strong and memorable.”—Harold Bloom, from his Introduction <br>  <br>“McCarthy is a writer to be read, to be admired, and quite honestly—envied.”—Ralph Ellison</b> <br> <br><b>One of <i>The Atlantic</i>’s Great American Novels of the Past 100 Years</b><br><br>Widely considered one of the finest novels by a living writer, <i>Blood Meridian</i> is an epic tale of the violence and corruption that attended America’s westward expansion, brilliantly subverting the conventions of the Western novel and the mythology of the “Wild West.” Its wounded hero, the Kid, a fourteen-year-old Tennessean, must confront the extraordinary brutality of the Glanton gang, a murderous cadre on an official mission to scalp Indians. Seeming to preside over this nightmarish world is the diabolical Judge Holden, one of the most unforgettable characters in American fiction. <br>  <br>Based on historical events that took place on the Texas-Mexico border in the 1850s, <i>Blood Meridian</i> represents a genius vision of the historical West, one whose stature has only grown in the years since its publication.