How we cite our quotes: (Paragraph)
Quote #1
He rode where he would always choose to ride, out where the western fork of the old Comanche road [was] coming down out of the Kiowa country […]. At the hour he'd always choose when the shadows were long and the ancient road was shaped before him in the rose and canted light like a dream of the past where the painted ponies and the riders of that lost nation came down out of the north with their faces chalked and their long hair plaited and each armed for war which was their life and the women and children and women with children at their breasts all of them pledged in blood and redeemable in blood only. (18)
What could the meaning of "pledged in blood and redeemable in blood only" be here? What kind of values is the narrator trying to ascribe to the Comanches?
Quote #2
There was an old horseskull in the brush and he squatted and picked it up and turned it in his hands. Frail and brittle. Bleached paper white. He squatted in the long light holding it, the comicbook teeth loose in their sockets. The joint in the cranium like a ragged welding of the bone plates. The run of sand in the brainbox when he turned it. (20)
John Grady lingers at length over this fragile horse skull early in the novel. What is the significance of the descriptive terms used here—its fragility, and the way the sand passes through it? Why focus so much on the details of a single horse skull?
Quote #3
You every think about dyin?
Yeah. Some. You?
Yeah. Some. You think there's a heaven?
Yeah. Dont you?
I dont know. Yeah. Maybe. You think you can believe in heaven if you dont believe in hell?
I guess you can believe what you want to.
Rawlins nodded. You think about all the stuff that can happen to you, he said. There aint no end to it. (1391-7)
Rawlins has a tendency to wonder about the afterlife when in danger, as he does here when he and John are on the run after attempting to steal back Blevins' horse. The lack of resolution from this discussion suggests that the answers to such questions are ultimately unknowable, or perhaps merely distractions.
Quote #4
Lastly he said that he had seen the souls of horses and that it was a terrible thing to see. He said that it could be seen under certain circumstances attending the death of a horse because the horses shares a common soul and its separate life only forms it out of all horses and makes it mortal. He said that if a person understood the soul of the horse then he would understand all the horses that ever were. (1642)
By contrast, the veteran Luis also says there can be no communion among men like that among horses. But why might this common soul be a "terrible thing to see"? What could be shared among horses, passed down through different incarnations, that could be so awful?
Quote #5
We're okay, whispered Rawlins. We're okay.
John Grady didn't answer. He almost reached to pull down the front of his hatbrim but then he remembered that they had no hats anymore and he turned and climbed up on the bed of the truck and sat waiting to be chained. Blevins' boot was still lying in the grass. One of the guards bent and picked it up and pitched it into the weeds. (2682)
What do you make of the way the guard pitches Blevins' stray boot, which he had tried to get while he was being led away to be shot? Do these details make Blevins' death seem more or less significant, and why?
Quote #6
He knew the cuchillero [knife-wielding assassin] had been hired because he was a man of reputation and it occurred to him that he was going to die in this place. He looked deep into those dark eyes and there were deeps there to look into. A whole malign history burning cold and remote and black […]. The knife passed across [John's] chest and passed back and the figure moved with incredible speed and again stood before him crouching silently, faintly weaving, watching his eyes. They were watching so that they could see if death were coming. Eyes that had seen it before and knew the colors it traveled under and what it looked like when it got there. (2993)
The cuchillero is clearly not the best dinner date. Whose death might he be watching for here? Why might his history be mentioned but not explored here?
Quote #7
The closest bonds we will ever know are bonds of grief. The deepest community one of sorrow […]. In the end we all come to be cured of our sentiments. Those whom life does not cure death will. (3420)
Alfonsa's statement that grief creates community seems to contradict the isolation in death that exists elsewhere in the novel. Is this a rule that applies to some characters in the novel but not others? Does John's grief over anyone in the novel at any point create a form of "community"?
Quote #8
When he reached [the doe] she lay in her blood in the grass and he knelt with the rifle and put his hand on her neck and she looked at him and her eyes were warm and wet and there was no fear in them and she died. He sat watching her for a long time. He thought about the captain and wondered if he were alive and he thought about Blevins […]. The sky was dark and a cold wind ran through the bajada and in the dying light a cold blue cast had turned the doe's eyes to but one thing more of things she lay among in that darkening landscape. Grass and blood. Blood and stone. (3789)
The doe's lack of fear seems to coincide with the way in which it becomes merely one other thing in the landscape. Why does John show such tenderness toward the doe after a series of violent acts toward people (killing the cuchillero, taking the captain hostage and nearly killing him)?
Quote #9
He stood hat in hand over the unmarked earth. This woman who had worked for his family fifty years. She had cared for his mother as a baby and she had worked for his family long before his mother was born and she had known and cared for the wild Grady boys who were his mother's uncles and who had all died so long ago and he stood holding his hat and he called her his abuela and he said goodbye to her in Spanish and then turned and put on his hat and turned his wet face to the wind and for a moment he held out his hands as if to steady himself or as if to bless there ground there or perhaps as if to slow the world that was rushing away and seemed to care nothing for the old or the young or rich or poor or dark or pale or he or she. Nothing for the living or the dead. (4049)
This late scene encapsulates many of the novel's ideas about death and the world. While on the one hand she has deep significance for John and his family, Abuela's departure seems final and arbitrary. The novel here delivers a definitive statement about the cruelty of the world toward those who leave it.
Quote #10
The indians stood watching him. He could see that none of them spoke among themselves or commented on his riding there nor did they raise a hand in greeting or call out to him. They had no curiosity about him at all. As if they knew all they needed to know. They stood and watched him vanish upon that landscape solely because he was passing. Solely because he would vanish. (4050).
This scene forms a coda to the first quote under this theme about the vanished Comanche nation: now at the end of the novel, John, too, is merely a life that came into the world and will soon vanish from it, much like Pop Rocks in soda.