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001			187972
003			IT-RoAPU
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020			_a9780292745285 _qPDF
024	7		_a10.7560/744295 _2doi
035			_a(DE-B1597)9780292745285
035			_a(DE-B1597)588604
035			_a(OCoLC)1286806178
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aLIT000000 _2bisacsh
082	0	4	_a813/.54 _223
084			_aonline - DeGruyter
100	1		_aJosyph, Peter _eautore
245	1	0	_aCormac McCarthy's House : _bReading McCarthy Without Walls / _cPeter Josyph.
264		1	_aAustin : _bUniversity of Texas Press, _c[2021]
264		4	_c©2013
300			_a1 online resource (304 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aSouthwestern Writers Collection Series, Wittliff Collections at Texas State University
505	0	0	_tFrontmatter -- _tContents -- _tIllustrations -- _tPart One. Excursions and Exchanges -- _tJudging Blood Meridian Or The Evening Redness in the West by Its Cover -- _tA Walk with Wesley Morgan through Suttree’s Knoxville -- _tBelieving in The Sunset Limited: A Talk with Tom Cornford on Directing McCarthy -- _t“Now Let’s Talk about The Crossing”: An Exchange with Marty Priola -- _tPart two. The author as visual motif -- _tCormac McCarthy’s House: A Memoir -- _tChapter One. Resolution 158 -- _tChapter two. Finding the Where -- _tChapter three. Collaborating with God -- _tChapter four. Because the Easel Rocks -- _tChapter five. San Jacinto Plaza -- _tChapter six. Cormac McCarthy’s House -- _tEpilogue. Two Hemingways -- _tNotes -- _tWorks Cited -- _tAcknowledgments -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aNovelist Cormac McCarthy’s brilliant and challenging work demands deep engagement from his readers. In Cormac McCarthy’s House, author, painter, photographer, and actor-director Peter Josyph draws on a wide range of experience to pose provocative, unexpected questions about McCarthy’s work, how it is achieved, and how it is interpreted. As a visual artist, Josyph wrestles with the challenge of rendering McCarthy’s former home in El Paso as a symbol of a great writer’s workshop. As an actor and filmmaker, he analyzes the high art of Tommy Lee Jones in The Sunset Limited and No Country for Old Men. Invoking the recent suicide of a troubled friend, he grapples with the issue of “our brother’s keeper” in The Crossing and The Sunset Limited. But for Josyph, reading the finest prose-poet of our day is a project into which he invites many voices, and his investigations include a talk with Mark Morrow about photographing McCarthy while he was writing Blood Meridian; an in-depth conversation with director Tom Cornford on the challenges of staging The Sunset Limited and The Stonemason; a walk through the streets, waterfronts, and hidden haunts of Suttree with McCarthy scholar and Knoxville resident Wesley Morgan; insights from the cast of The Gardener’s Son about a controversial scene in that film; actress Miriam Colon’s perspective on portraying the Dueña Alfonsa opposite Matt Damon in All the Pretty Horses; and a harsh critique of Josyph’s views on The Crossing by McCarthy scholar Marty Priola, which leads to a sometimes heated debate. Illustrated with thirty-one photographs, Josyph’s unconventional journeys into the genius of Cormac McCarthy form a new, highly personal way of appreciating literary greatness.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650		0	_aWestern stories _xCriticism and interpretation.
650		7	_aLITERARY CRITICISM / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7560/744295
856	4	0	_uhttps://www.degruyter.com/isbn/9780292745285
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780292745285/original
942			_cEB
999			_c187972 _d187972