Rugged Resonances: From Music in McCarthy to McCarthian Music
This essay explores the contact zone between the two worlds of music and literature, or sound and fiction, in the context of Cormac McCarthy’s works. It teases out the stylistic idiosyncrasies of McCarthy’s fiction in terms of a sonic register, by tracing its connections to the film scores of movie...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/ejas, |
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| Auteurs principaux: | , |
| Format: | Article ou chapitre numérique |
| Langue: | Anglais |
| Publié: |
European journal of American studies
2017
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| Sujets: | |
| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | This essay explores the contact zone between the two worlds of music and literature, or sound and fiction, in the context of Cormac McCarthy’s works. It teases out the stylistic idiosyncrasies of McCarthy’s fiction in terms of a sonic register, by tracing its connections to the film scores of movie adaptations like All the Pretty Horses (2000) and The Road (2009), and to the works of a diverse set of musicians and bands directly inspired by McCarthy’s fiction, including acts like Buddy and the Huddle, Horatio Clam, Ben Nichols, Earth, and Neurosis. Starting with specific passages from the author’s oeuvre that themselves project a sonic imagery, the guiding question of this essay will be in what sense a tracing of the film scores and musical acts inspired by McCarthy’s writings shed light on the “ruggedness” of what could be called his “signature resonance.” |
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