Abstract

Cormac McCarthy's Border Trilogy dramatizes the power of dreams and waking visions to reveal aspects or dimensions of reality that by their very nature seem resistant to language. The Trilogy accomplishes this through its numerous depictions of character dreams and visionary events, but also through unconventional stylistic and narrational features implying that what the reader is encountering in the text is a kind of dreamlike otherworld, translated by its oracular narrator into a more familiar idiom, the “spoken word.” McCarthy's thematic interest in the dreamer-storyteller analogy and his distinctive use of a visionary narrative voice throughout the Trilogy challenge any straightforward understanding we might have about the process of narrative creation, which in McCarthy's case (and perhaps more broadly) seems to be characterized by a blurry interaction between creativity and reception, authorship and readership.

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