I. Introduction
I rewatched season one of True Detective recently, and although the storyline is fantastic, a rewatch allows one to look not only at the characters and the story – but the scenery of Southern Louisiana which acts as a character itself. Although an exact location is not said, dialogue from the show reflects the story takes place in and around the Lake Charles area. However, I feel the story is to represent the areas outside of the glitz of New Orleans, the backwoods and murky bayous of Louisiana that haunt the characters and the viewer alike. The stories told in that season of True Detective, have it be the murdered women, the pedophile rings, the occult imagery, or the families affected – it is like a curse being cast over this area of the world.
I think the first viewing reflects the raw power the show has multiple viewings afterward are more psychologically demanding as it requires introspection on the deeper lives and psychological motivations of characters. I was trying to search for this meaning in describing the environment of True Detective Season One – it was a video essay from Jams and Tea who described “a southern gothic and surreal atmosphere” which made season one of the show great – and I felt that was the perfect definition relating to the location of backwoods Louisiana.
I became intrigued with the phrase southern gothic. Assuming it would relate to the gothic themes of literature from writers such as Mary Shelley, Bram Stoker, and Emily Brontë, I was largely confirmed. But there are significant differences between the Gothic and Southern Gothic as you will see. While the gothic follows typical aesthetic tropes like bad weather, dark and dingy atmosphere, nightmares, and burdened characters. Although the Gothic is the original, dare I say, the Southern Gothic is much more palpable in its storytelling, prose, and environmental descriptions.
What is Southern Gothic?
Southern Gothic is a literary style in the tradition of old gothic works that merges gothic elements with the location of the American South. It can take dreary settings but apply social context, such as the rotted and waterlogged cement after a Gulf hurricane. It encompasses dark and sinister events such as crime, poverty, alienation, and violence. Opposite of the grandiosity of stories involving the American Civil War – the Southern Gothic finds a home during the Reconstruction Era after the war and a view from the side who lost the war.
The Southern Gothic also employs familial ties and lineage that bounds one to a locale, where not only a character – but the family is largely cursed by the surroundings. Other motifs include decay – notably aristocratic/plantation decay as ghostly remnants of a dark chapter in American history. Characters are similar to gothic characters – but deeper in the sense they can be very complex, and even highly flawed characters who are haunted by the past and struggling to come to terms with their place in society. Some of the most famous writers of the Southern Gothic genre are William Faulkner, Flannery O’Connor, and our star of this piece Cormac McCarthy.
Who is Cormac McCarthy?
Cormac McCarthy is a novelist, playwright, and screenwriter, who was born on July 20, 1933, in Providence, Rhode Island – which threw me for a loop, as I would not consider him a Yankee the way he writes so vividly with what seems a lifetime experience in the American South. If you have heard of his name before – it was probably due to his books becoming film adaptations – for example, The Road and No Country for Old Men which won an Oscar for Best Picture, and Javier Bardem winning Best Supporting Actor for his portrayal of the psychotic, ghostly hitman Anton Chigurh.
Aside from his film adaptations, he has developed a name for being a really good Western author with great depictions of the old West with quasi-reality. Books like Blood Meridian, and his border trilogy: All the Pretty Horses, The Crossing, and Cities of the Plain combine sparse prose, vivid descriptions of the American West, and their exploration of the darker aspects of human nature.
With that said, much like the work of McCarthy, I want to go off the beaten path into areas that most are not familiar with – his Southern Gothic origins. To observe the Southern Gothic through Cormac McCarthy, we will look at three works: Child of God, Outer Dark, and The Orchard Keeper to get a grasp on some of the story, thematic elements, and literary motifs finish with some sociological and psychological elements that underline all three stories to get a sense of the Southern Gothic theme through McCarthy’s words.
II. The Works
Child of God
Child of God is one of Cormac McCarthy’s most disturbing novels. Published in 1973, it tells the story of Lester Ballard, a disturbed and isolated man who lives in the Appalachian Mountains of Tennessee. Ballard is a loner, shunned by society, and with no family or friends, he turns to increasingly violent and depraved behavior. This all stems from the opening of the book as he is evicted from his house due to lack of payments and is left to fend for himself in the wilderness – in which he becomes increasingly isolated and depraved as the book goes on.
Isolation is prominent throughout the novel – have it be the character of Lester Ballard or the setting of the desolate mountains and woods of Tennessee. Lester Ballard is a man who is rejected by society and unable to connect with others on a meaningful level. His isolation from the community is a direct result of his actions and behavior, which are often violent and disturbing. The novel highlights the dangers of isolation, as it can lead to a sense of detachment from society and the erosion of moral boundaries. Another significant theme is the nature of violence. The novel presents violence as an inherent part of human nature, one that is difficult to understand and control. The characters in the novel are often violent, and their actions are portrayed as a result of their inner demons and psychological issues.
Although Lester’s abhorrent behavior should not be accepted, one has to look at Lester Ballard as an individual who is mentally inept to understand his crimes. I see similarities between Lester Ballard and the real-life case of Brendan Dassey (from the Netflix show Making of a Murder). Although two very different characters in terms of their motivations – they share similarities in their portrayal as outsiders and their susceptibility to manipulation by others. Brendan shows intellectual ineptitude for his crimes, and Lester comes off as intellectually inept as well. Deeper questions of individual agency between both characters can be explored here as well, such as the limits of individual capacity for humans.
Redemption is also an arc within Child of God; obviously, we can see someone like Lester Ballard, despite his many sins, experiences moments of introspection and reflection that suggest the possibility of redemption. However, it is unclear whether he is truly capable of redemption or if it is merely a fleeting hope. I think the most significant analysis comes from seeing Lester Ballard as a fallen angel from heaven, a ‘child of God’ who has lost his way perhaps. One of the most impactful moments near the end where Lester sees a boy in the window of a bus, perhaps one just like him, once with an innocence that has gone away.
Outer Dark
Outer Dark came before Child of God in 1968 and it tells the story of a brother and sister, Culla and Rinthy Holme, as they navigate a bleak and brutal landscape in search of each other. Again, set in the harsh world of the Appalachian Mountains, set some time at the turn of the 20th century. Not for the faint of heart due to its harshness and bleakness – but there is a sense of underlying beauty and meaning in the novel.
This could be McCarthy’s most religious book – as in, the overt and covert meaning in the book. Starting with the title: Outer Dark is referencing the Gospel of Matthew (25:30) “And cast ye the unprofitable servant into outer darkness: there shall be weeping and gnashing of teeth”, and is related to the characters in the book as they set out on their journey into the dark and depraved world. Not just the characters’ journey, but the characters themselves are filled with darkness, such as Culla who impregnated his sister Rinthy – hoping for the baby not to make it through childbirth, it eventually does, then he takes the baby from Rinthy and gives it to an old Tinker, only to tell Rinthy the baby is dead.
There is an anti-redemption arc in the story as well, and a bleak one, as Culla is given many opportunities to redeem himself from the sin of casting out a child of God. He ultimately fails in the end as he experiences the consequences of his actions. The depravity has a physical presence represented by a group called “The Trio”. The Trio refers to a group of three characters who appear early in the novel and serve as a significant plot point on the theme of depravity. The trio consists of a man and two women whom Culla encounters shortly after he abandons Rinthy’s baby in the woods. The trio initially seems friendly and helpful, offering to give Culla a ride on their wagon, but they quickly reveal themselves to be violent and dangerous.
I will keep this PG, but The Trio and their representation of evil are paramount through the stinging prose from McCarthy. Not just evil, but the banality of evil and how Culla can experience what he did (abandoning his baby), what he did to Rinthy, the outcome of what happened to the baby (a gruesome end by The Trio), and the final part of the book allowing a blind man to walk into a swamp, that would surely mean death only to say “Someone should tell a blind man before setting him out that way” – while he is right there to tell him.
I think the theme of The Trio members having either no teeth or rat-faced distortion reflects that the evil has gnashed their teeth down to nothing – so much so that they are so filled with evil that no amount of goodwill gets their teeth back or changes their distortions, this is permanence. I think Culla realizes this as well, he failed the redemption of abandonment that he accepts his evil as well, leading to the final quote with the blind man.
Another theme is the dichotomous relationship of religion and how it is present throughout the hills of Appalachia. On the one hand, some characters display a strong sense of faith and morality, such as the pastor who advises Culla to do the right thing regarding the abandoned baby, and the blind man who helps Rinthy find her way. These characters provide a sense of hope and compassion in an otherwise bleak and violent world. On the other hand, religion is also associated with darkness and superstition. The blind man, for example, is also depicted as a somewhat ominous figure, with a knowledge of the supernatural that is both mysterious and unsettling. Furthermore, you have the toothless man and the rat-faced man as deeply religious figures. The novel concludes that religion can be a force for good or evil depending on the actions of those who practice it. It also suggests that faith can be a source of comfort and guidance in a harsh world, but that blind adherence to religious dogma can lead to dangerous and destructive fanaticism.
The Orchard Keeper
This was McCarthy’s first book written in 1965 and was the winner of the 1966 William Faulkner Award for a first novel. Interestingly, he won that award – considering many have stated The Orchard Keeper is McCarthy’s most Faulkner-esque work. Although I am only briefly familiar with Faulkner’s work, many have said the themes of familial trauma, and the non-linear structure make The Orchard Keeper echo the evocation of past Faulkner works such as The Sound and the Fury and As I Lay Dying.
The story takes place in rural Tennessee in the 1930s and follows the lives of three characters: John Wesley Rattner, Marion Sylder, and Arthur Ownby. The novel is told in a nonlinear fashion, with the perspectives and experiences of each character woven together. Much like McCarthy’s other works the natural landscape of Tennessee is very descriptive, from the flora and fauna to the clouds in the sky, the description of nature – is itself – a character presenting the passage of time.
Trees serve as a thematic motif throughout the book. The prologue sets the tone of the novel showcasing three men at work sectioning a tree until their saw gets caught in a twisted wrought-iron fragment in the tree that has grown all through it. Referencing the familial trauma and the cycle of violence throughout many generations of a family tree – and a line of rotten iron moves up and down the tree like sins of the father and the father before him. Throughout the novel, trees give reference to the lives of the three characters both internally and externally.
First, trees connect to nature and the natural world surrounding the characters in Tennessee. This is a positive theme as the characters – in their challenging lives – find solace in nature. Second, trees show the passage of time between the characters, especially the discussion around the ancient cedars that dominate the forest. Third, ancestral roots are relayed through trees as a sign, notably, John Wesley Rattner’s lineage is connected to a sense of his ancestral identity.
Along with the theme of trees, it is contrasted with many violent moments – as is common in McCarthy’s works – to show that within the boundaries of these trees lies a rotten truth of violence and survival in the harsh environment. Large portions of the book involve Marion Sydler and Kenneth Rattner fighting for their lives in the illegal moonshine trade – such as recovering stolen or stealing moonshine for themselves. Not to mention violence seems to come at times when the characters reflect the most on nature and tranquility, serving as a sort of interruption to a meaningful life.
Religious themes are present as well. Some of the obvious is the apple orchard serving as the Garden of Eden and how the actions of the characters create a corrupting influence on the orchard, especially in later chapters when violence comes to the orchard. Similar to the fate of Adam and Eve as told in Milton’s Paradise Lost, the characters find themselves with a sense of unease about the future is uncertain, much like the unease of Adam and Eve once banished from the garden. These themes paired with the crime and corruption, although not overt, reflect on sin and redemption, spiritual transcendence, and the sacredness of the natural world.
Spoiler alert, but the ending needs to be discussed. After John Wesley leaves Red Branch, he returns to a different place, with less life than before. John Wesley reflects on the past as he is forced to confront the reality of his past and how his experiences have shaped him, while also coming to terms with the challenges that lie ahead. I think the concept of making this town desolate and isolating is to reflect not a physical town, but a reality skewed by a memory of a town. This is John Wesley confronting his lineage and using past experiences to shape who we are. It is a very bleak but humbling ending.
III. Deeper Themes Connecting All Three Works
The Promise of America
What is the promise of America? Well, it refers to the ideals and principles that the United States was founded upon, including freedom, equality, justice, and opportunity for all. Even with the destitute characters of Tennessee reflecting a very hard and challenging life, the promise of redemption, opportunity, and freedom are there – it merely rests in the characters’ hands in the end. I think McCarthy, and understanding America through his writing, is just as important now as it was back in the 1960s. Does this country have hardships? Yes. Are you guaranteed wealth and prosperity in this country? No. Does the opportunity for wealth and happiness still exist in this country more than in any other country? Absolutely yes.
Is my theory perfect? No, it isn’t, and that resonates especially in The Orchard Keeper and the significance of trees, representing the cycle of poverty. As the wrought iron goes through the tree – much like generational poverty in the Appalachian families is rotted iron going through their family tree as a curse on future generations. What I think McCarthy offers is something completely different from other authors in this regard – and it’s largely nothing to offer, it is what it is. Some authors want to provide a call to action: social programs, calling out inherited biases, or fixing oppressive systems – McCarthy makes us sit in this dull reality of generational poverty and accept it for what it is. I feel his description of characters facing choices is out for them to make their opportunity toward freedom and equality – but it is ultimately their choices, in the end, reflecting that the promise of America is a promise and not a guarantee.
Dichotomy of Religion
Religion through all three works in a prevalent subtext, but it is not overt. Perhaps the most overt representation is in The Orchard Keeper and connecting the orchard to the Garden of Eden. A dichotomy is a difference or a contrast between a topic – and I feel the dichotomy of religion in these McCarthy works forces us to take a look at religion differently. Do we still accept Lester Ballard as a child of God, even with his sickening and abhorrent behavior? Is the outside world a cold and dark place making Matthews word’s a prophecy? Do we as humans always fail to tend the orchard and are cast out?
This presents deeper questions, if Lester is a child of God and available in his end life for redemption, then all evils are absolved by redemption – then of what use is Hell? Is the outside world a dark place happening to Culla, or does Culla make his world dark through his actions? If man is meant to be cast out of the orchard, why provide the orchard to begin with if we are not meant to tend it? I wouldn’t consider McCarthy a religious man, and neither am I, which is why I gravitate to his words as they are the right questions to ask about religion.
Societal Isolationism and Identity
The ills of isolationism are prevalent today as they are in the classic Southern Gothics. Jonathan Haidt is not a Southern Gothic author, but he is a social psychologist, and he has been talking about social isolation for some time now – notably with kids and modern technology. In a recent article, he writes how generations of kids have been isolated for the greater part of 30 years now due to technology causing societal ills of infantilization, anxiety, depression, and violence. One could thing you can take away from our protagonists – mainly Lester, Culla, and John Wesley – is that they are on the fringes of society, and the outcomes of being on those fringes.
Evil Stands for a Time, But Nature is Forever
Regardless of the evils that happen throughout the book, it all seems to happen in nature – and regardless of the societal and psychological ills, nature finds a way to shine through. McCarthy’s vivid description of the Tennessee woods, roads, creeks, flora and fauna, trees, and weather all provide a subtext that nature is the powerful force here, and regardless of good or bad, nature ultimately gets a say in what happens. I think the ending of Outer Dark displays this most vividly, even after Culla, the baby, and Rinthy is gone, and when that wagon rots away and the memories of the horrors that happen – the trees, the grass, and the sky will continue to be there before you, during you, and after you.
Ghost of William Faulkner
Is Cormac McCarthy the spirit of William Faulkner in our modern age? Although they share many similarities in their prose it is a tough question to nail down otherwise. Typing this into Google, it is a deluge of opinions that suggest Faulkner is so original to think otherwise. Some compare Toni Morrison, who I would disagree with considering her writing is singularly focused on the black experience, rather than focusing diving into the many different areas related to the Southern Gothic. Sure, Faulkner and McCarthy discuss the original sin of racism in the South, but it is not paramount to the story as there is so much more to the Southern Gothic experience than just racism. It can be a defining topic, but not THE defining topic.
In terms of defining the spirit of Faulkner and connecting a direct lineage through style, content, and body of work. I would consider Cormac McCarthy a direct descendent of William Faulkner both firmly supplanted in the realm of great American novelists. Not to mention, true geniuses of the Southern Gothic experience.
***
Overall, I think the Southern Gothic genre is the best genre to understand the American experience, given its dichotomous nature – as in the good always comes with the bad, positives are found with negatives, and dark is always contrasted with light – sometimes with a grey area where we blur the lines between good and evil. I think the Southern Gothic is Nietzschean in a way to show you that yes, the world can be dark, and you have a choice: confront the darkness or let it consume you. Many characters in McCarthy’s Southern Gothic work allow the darkness to consume them, missing the opportunity to overcome the darkness – even when presented to them. I think the greatest lesson Southern Gothic literature teaches us is to affirm life for what it is, and embrace as much as you can – lest the darkness consumes you to the point you cannot escape.
carsonbabich.com 