Violence Quotes in The Road

How we cite our quotes: Citations follow this format: (Section.Paragraph)

Quote #1

People sitting on the sidewalk in the dawn half immolate smoking in their clothes. Like failed sectarian suicides. Others would come to help them. Within a year there were fires on the ridges and deranged chanting. The screams of the murdered. By day the dead impaled on spikes along the road. What had they done? He thought that in the history of the world it might even be that there was more punishment than crime but he took small comfort from it. (53.1)

In The Road, the world has become a brutal place. McCarthy lists some of the atrocities here: murder and derangement, both of which are horrifically displayed (e.g. "the dead impaled on spikes along the road"). He also offers us a smart definition of violence: "there was more punishment than crime." Don't we call judicious (and sanctioned) retribution "justice"? And those other acts, unsanctioned and excessive, "violence"?

Quote #2

There was a skylight about a third of the way down the roof and he made his way to it in a walking crouch. The cover was gone and the inside of the trailer smelled of wet plywood and that sour smell he'd come to know. He had a magazine in his hip pocket and he took it out and tore some pages from it and wadded them and got out his lighter and lit the papers and dropped them into the darkness. A faint whooshing. He wafted away the smoke and looked down into the trailer. The small fire burning in the floor seemed a long way down. He shielded the glare of it with his hand and when he did he could see almost to the rear of the box. Human bodies. Sprawled in every attitude. Dried and shrunken in their rotted clothes. The small wad of burning paper drew down to a wisp of flame and then died out leaving a faint pattern for just a moment in the incandescence like the shape of a flower, a molten rose. Then all was dark again. (76.1)

This is just scary. When you open a basement door, or walk down a dark hallway, you sometimes imagine some pretty ridiculous things, most of which never turn out to be real. (Mostly because they're just impossible.) In the universe of The Road, however, things turn out worse than anyone (except Cormac McCarthy) could imagine. The Man climbs up to the skylight of a jackknifed tractor-trailer truck. When he peers into the truck, he sees a collection of corpses sprawled inside the container.

Quote #3

[The Woman:] No, I'm speaking the truth. Sooner or later they will catch us and they will kill us. They will rape me. They'll rape him. They are going to rape us and kill us and eat us and you wont face it. [. . .]. We used to talk about death, she said. We dont anymore. Why is that?

[The Man:] I dont know.

[The Woman:] It's because it's here. There's nothing left to talk about. (93.12-93.14)

The Boy's mother states (pretty confidently) the habits of the "bloodcults" roaming the roads. They rape, steal, and murder without discretion. Not to mention the fact that they're cannibals. The world has become predictably violent, meaning that The Woman is able to say with absolute certainty what these "bloodcults" will do if given the chance. The Man doesn't argue with her.

Quote #4

She was gone and the coldness of it was her final gift. She would do it with a flake of obsidian. He'd taught her himself. Sharper than steel. The edge an atom thick. And she was right. There was no argument. The hundred nights they'd sat up debating the pros and cons of self destruction with the earnestness of philosophers chained to a madhouse wall. (94.1)

There's plenty of violence in The Road. The gangs roving the road don't play nice, and this means The Boy and The Man have to do some pretty unsavory things, too, in order to survive. But it's important to remember the presence (and threat) of self-violence in the novel. The Woman commits suicide to avoid violation by others. The Man also has two bullets saved in the pistol to kill himself and The Boy if things take a turn for the worse.

Quote #5

He [the roadrat] let go of the belt and it fell in the roadway with the gear hanging from it. A canteen. An old canvas army pouch. A leather sheath for a knife. When he looked up the roadrat was holding the knife in his hand. He'd only taken two steps but he was almost between him and the child.

[The Man:] What do you think you're going to do with that?

He didnt answer. He was a big man but he was quick. He dove and grabbed the boy and rolled and came up holding him against his chest with the knife at his throat. The man had already dropped to the ground and he swung with him and leveled the pistol and fired from a two-handed position balanced on both knees at a distance of six feet. The man fell back instantly and lay with blood bubbling from the hole in his forehead. (102.54-102.56)

There are plenty of extremely violent set pieces in The Road, and this is one of them. When a roadrat (one of the "bad guys" who steals and murders) tries to take The Boy hostage, The Man responds pretty much like an action hero in a movie would. He drops to his knees, pivots, and fires straight into the roadrat's forehead. McCarthy's description – "blood bubbling from the hole in his forehead" – is quite graphic.

Obviously we're very happy The Man is able to protect The Boy. But you also kind of have to wonder about the guy's ridiculous firearm skills. It's like when your friend has to tell a lie to protect you, but you're a little taken aback by just how good he is at lying – it's a little troubling.

Quote #6

He walked through the woods to where they'd left the cart. It was still lying there but it had been plundered. The few things they hadnt taken scattered in the leaves. Some books and toys belonging to the boy. His old shoes and some rags of clothing. He righted the cart and put the boy's things in it and wheeled it out to the road. Then he went back. There was nothing there. Dried blood dark in the leaves. The boy's knapsack was gone. Coming back he found the bones and the skin piled together with rocks over them. A pool of guts. He pushed at the bones with the toe of his shoe. They looked to have been boiled. No pieces of clothing. Dark was coming on again and it was already very cold and he turned and went out to where he'd left the boy and knelt and put his arms around him and held him. (110.1)

One funny thing about literature is that most authors worth their salt can still write pretty sentences even when they're describing something really ugly. It's almost as if you can't get away from beauty in good literature, no matter how hard you try. Case in point: McCarthy's prose sings here, even though he's describing the remnants of a cannibal feast.

Take a look at this sentence especially: "Dried blood dark in the leaves." Not only is it sharp visually, it's also got nice sound patterns. It's not that this book is particularly guilty of prettifying violence (compared to certain other works of great literature), but it's our job to point these things out.

Quote #7

They followed the stone wall past the remains of an orchard. The trees in their ordered rows gnarled and black and the fallen limbs thick on the ground. He stopped and looked across the fields. Wind in the east. The soft ash moving in the furrows. Stopping. Moving again. He'd seen it all before. Shapes of dried blood in the stubble grass and gray coils of viscera where the slain had been field-dressed and hauled away. The wall beyond held a frieze of human heads, all faced alike, dried and caved with their taut grins and shrunken eyes. They wore gold rings in their leather ears and in the wind their sparse and ratty hair twisted about on their skulls. The teeth in their sockets like dental molds, the crude tattoos etched in some homebrewed woad faded in the beggared sunlight. [. . .] The heads not truncheoned shapeless had been flayed of their skins and the raw skulls painted and signed across the forehead in a scrawl and one white bone skull had the plate sutures etched carefully in ink like a blueprint for assembly. (140.1)

Some literary critics have compared Cormac McCarthy, specifically in his grosser moments like this one, to the eminent Joseph Conrad, author of Heart of Darkness. It's easy to see why. We don't think it takes too much straining to hear in this passage something similar to Joseph Conrad's description of Kurtz's camp deep in the Congo. (If you haven't read Heart of Darkness, Conrad also describes a collection of human skulls on spikes.) Both authors have a chilling precision when it comes to gore and violence.

Quote #8

He started down the rough wooden steps. He ducked his head and then flicked the lighter and swung the flame out over the darkness like an offering. Coldness and damp. An ungodly stench. The boy clutched at his coat. He could see part of a stone wall. Clay floor. An old mattress darkly stained. He crouched and stepped down again and held out the light. Huddled against the back wall were naked people, male and female, all trying to hide, shielding their faces with their hands. On the mattress lay a man with his legs gone to the hip and the stumps of them blackened and burnt. The smell was hideous. (168.1)

This is one of the more infamous passages in the book. The Man and The Boy explore a house in the hope of finding some food. Instead, they find a cellar full of people who are presumably being kept like livestock for slaughter. What's so revolting about this scene is that the "bad guys" are not just cannibals, pushed beyond the imaginable limits of hunger. They're actually keeping and raising human beings like you would chickens or cows. Let's just hope there's never "a long shear of light and then a low series of concussions" like the disaster from The Road, because this stuff is scary.

Quote #9

They walked into the little clearing, the boy clutching his hand. They'd taken everything with them except whatever black thing was skewered over the coals. He was standing there checking the perimeter when the boy turned and buried his face against him. He looked quickly to see what had happened. What is it? he said. What is it? The boy shook his head. Oh Papa, he said. He turned and looked again. What the boy had seen was a charred human infant headless and gutted and blackening on the spit. He bent and picked the boy up and started for the road with him, holding him close. I'm sorry, he whispered. I'm sorry. (276.1)

OK, so this is the other infamous passage in The Road. The Man and The Boy happen upon a campfire with a spit. On the spit there's the charred body of an infant. This is probably the most horrifying image in the book, but it's worth shifting our gaze to The Man's response. He picks up The Boy (because he wants to keep him safe?) and carries him to the road. Then he apologizes to The Boy. And isn't this how parents respond when the less attractive parts of life encroach upon their children? They apologize both for how terrible the world can be and that they let down their guard, somehow allowing the kid to see the world at its worst.

Quote #10

As they passed the last of the sad wooden buildings something whistled past his head and clattered off the street and broke up against the wall of the block building on the other side. He grabbed the boy and fell on top of him and grabbed the cart to pull it to them. It tipped and fell over spilling the tarp and blankets into the street. In an upper window of the house he could see a man drawing a bow on them and he pushed the boy's head down and tried to cover him with his body. He heard the dull thwang of the bowstring and felt a sharp hot pain in his leg. Oh you bastard, he said. You bastard. He clawed the blankets to one side and lunged and grabbed the flare gun and raised it and cocked it and rested his arm on the side of the cart. The boy was clinging to him. When the man stepped back into the frame of the window to draw the bow again he fired. The flare went rocketing up toward the window in a long white arc and then they could hear the man screaming. (362.1)

So The Man and The Boy are supposed to be carrying "the fire," right? And the fire represents goodness and compassion, or at least non-evil tendencies, right? So it's really sad to see The Man have to use the flare gun as a weapon instead of as a signal to the other "good guys" (or God). The flare gun becomes a violent weapon with which to set other people on fire instead of a megaphone to shout "We're here!" It's distressing, but The Man and The Boy have to protect themselves, since America isn't remotely safe anymore.