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　　From Publishers Weekly
　　Starred Review. Seven years after Cities of the Plain brought hisacclaimed Border Trilogy to a close, McCarthy returns with amesmerizing modern-day western. In 1980 southwest Texas, LlewelynMoss, hunting antelope near the Rio Grande, stumbles across severaldead men, a bunch of heroin and $2.4 million in cash. The bulk ofthe novel is a gripping man-on-the-run sequence relayed in terse,masterful prose as Moss, who's taken the money, tries to evadeWells, an ex–Special Forces agent employed by a powerful cartel,and Chigurh, an icy psychopathic murderer armed with a cattle gunand a dangerous philosophy of justice. Also concerned about Moss'swhereabouts is Sheriff Bell, an aging lawman struggling with hissense that there's a new breed of man (embodied in Chigurh) whosedestructive power he simply cannot match. In a series of thoughtfulfirst-person passages interspersed throughout, Sheriff Bell lamentsthe changing world, wrestles with an uncomfortable memory from hisservice in WWII and—a soft ray of light in a book so steeped inbloodshed—rejoices in the great good fortune of his marriage. Whilethe action of the novel thrills, it's the sensitivity and wisdom ofSheriff Bell that makes the book a profound meditation on thebattle between good and evil and the roles choice and chance playin the shaping of a life.
　　McCarthy’s Border Trilogy, distinguished by the award-winning Allthe Pretty Horses (1992), contains dark Westerns set againstbeautiful, bleak landscapes. His newest novel updates hischaracter-driven plots and themes of violence and moral ambiguity.Perhaps the true sign of a master is one whose work raisesdebate—and this is what No Country has done. Most critics praisedMcCarthy’s clean, simple prose, though a few thought it too sparefor such a graceful stylist. ("The man looked at Chigurh’s eyes forthe first time. Blue as lapis. At once glistening and opaque. Likewet stones.") Compelling characters (even women) abound, butSheriff Bell came off as either smart or too long winded. Finally,the violence seemed gratuitous to some. Even if No Country may be amore minor McCarthy novel, it’s still a terrifying page-turner inthe vein of the Trilogy.
　　From Booklist

From Publishers Weekly 
　　Starred Review. Seven years after Cities of the Plain brought his
acclaimed Border Trilogy to a close, McCarthy returns with a
mesmerizing modern-day western. In 1980 southwest Texas, Llewelyn
Moss, hunting antelope near the Rio Grande, stumbles across several
dead men, a bunch of heroin and $2.4 million in cash. The bulk of
the novel is a gripping man-on-the-run sequence relayed in terse,
masterful prose as Moss, who's taken the money, tries to evade
Wells, an ex–Special Forces agent employed by a powerful cartel,
and Chigurh, an icy psychopathic murderer armed with a cattle gun
and a dangerous philosophy of justice. Also concerned about Moss's
whereabouts is Sheriff Bell, an aging lawman struggling with his
sense that there's a new breed of man (embodied in Chigurh) whose
destructive power he simply cannot match. In a series of thoughtful
first-person passages interspersed throughout, Sheriff Bell laments
the changing world, wrestles with an uncomfortable memory from his
service in WWII and—a soft ray of light in a book so steeped in
bloodshed—rejoices in the great good fortune of his marriage. While
the action of the novel thrills, it's the sensitivity and wisdom of
Sheriff Bell that makes the book a profound meditation on the
battle between good and evil and the roles choice and chance play
in the shaping of a life.
　　From Bookmarks Magazine 
　　McCarthy’s Border Trilogy, distinguished by the award-winning All
the Pretty Horses (1992), contains dark Westerns set against
beautiful, bleak landscapes. His newest novel updates his
character-driven plots and themes of violence and moral ambiguity.
Perhaps the true sign of a master is one whose work raises
debate—and this is what No Country has done. Most critics praised
McCarthy’s clean, simple prose, though a few thought it too spare
for such a graceful stylist. ("The man looked at Chigurh’s eyes for
the first time. Blue as lapis. At once glistening and opaque. Like
wet stones.") Compelling characters (even women) abound, but
Sheriff Bell came off as either smart or too long winded. Finally,
the violence seemed gratuitous to some. Even if No Country may be a
more minor McCarthy novel, it’s still a terrifying page-turner in
the vein of the Trilogy.
 
　　From Booklist 
　　*Starred Review* Dark themes suffuse McCarthy's first offering
since his completion of The Border Trilogy, wose opening
installment, All the Pretty Horses earned him both the National
Book Award and National Book Critics Circle Award in 1992. Texas
welder Llewelyn Moss makes a dubious discovery while out hunting
antelope near the banks of the Rio Grande: a dead man, a stash of
heroin, and more than $2 million in cash. Moss packs out the money,
knowing his actions will imperil him for the rest of his life. He's
soon on the run, left to his own devices against vengeful drug
dealers, a former Special Forces agent, and a psychopathic
freelance killer with ice blue eyes. Shades of Dostoyevsky,
Hemingway, and Faulkner resonate in McCarthy's blend of lyrical
narrative, staccato dialogue, and action-packed scenes splattered
with bullets and blood. McCarthy fans will revel in the author's
renderings of the raw landscapes of Mexico and the Southwest and
the precarious souls scattered along the border that separates the
two. Many are the men here who maim in the name of drugs. "If you
killed 'em all," says the local sheriff, "they'd have to build an
annex onto hell." Allison Block

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内容简介

　　In No Country for Old Men, Cormac McCarthy simultaneously strips down the American crime novel and broadens its concerns to encompass themes as ancient as the Bible and as bloodily contemporary as this morning’s headlines.

作者简介

　　Cormac McCarthy is one of America’s most honored writers. He has won both the National Book Award and the National Book Critics Circle Award. His most recent novel, The Road, received the Pulitzer Prize.

媒体评论

　　“Profoundly disturbing and gorgeously rendered.”
　　—The Washington Post

　　“Feels like a genuine diagnosis of the postmillennial malady, a scary illumination of the oncoming darkness.”
　　—Time

　　“He is nothing less than our greatest living writer, and this is a novel that must be read and remembered.”
　　—Houston Chronicle

　　“Riveting. . . . A harrowing, propulsive drama.”
　　—The New York Times

　　“This is a monster of a book. . . . It will leave you panting and awestruck.”
　　—Sam Shepard

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