Introduction

NATIONAL BESTSELLER
WINNER OF THE PULITZER PRIZE

The searing, post-apocalyptic novel about a father and son's fight to survive.

A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other.

The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation.

A New York Times Notable Book
One of the Best Books of the Year
The Boston Globe, The Christian Science Monitor, The Denver Post, The Kansas City Star, Los Angeles Times, New York, People, Rocky Mountain News, Time, The Village Voice, The Washington Post

Editorial Review

Best known for his Border Trilogy, hailed in the San Francisco Chronicle as "an American classic to stand with the finest literary achievements of the century," Cormac McCarthy has written ten rich and often brutal novels, including the bestselling No Country for Old Men, and The Road. Profoundly dark, told in spare, searing prose, The Road is a post-apocalyptic masterpiece, one of the best books we've read this year, but in case you need a second (and expert) opinion, we asked Dennis Lehane, author of equally rich, occasionally bleak and brutal novels, to read it and give us his take. Read his glowing review below. --Daphne Durham

---

Guest Reviewer: Dennis Lehane

Dennis Lehane, master of the hard-boiled thriller, generated a cult following with his series about private investigators Patrick Kenzie and Angela Gennaro, wowed readers with the intense and gut-wrenching Mystic River, blew fans all away with the mind-bending Shutter Island, and switches gears with Coronado, his new collection of gritty short stories (and one play).

Cormac McCarthy sets his new novel, The Road, in a post-apocalyptic blight of gray skies that drizzle ash, a world in which all matter of wildlife is extinct, starvation is not only prevalent but nearly all-encompassing, and marauding bands of cannibals roam the environment with pieces of human flesh stuck between their teeth. If this sounds oppressive and dispiriting, it is. McCarthy may have just set to paper the definitive vision of the world after nuclear war, and in this recent age of relentless saber-rattling by the global powers, it's not much of a leap to feel his vision could be not far off the mark nor, sadly, right around the corner. Stealing across this horrific (and that's the only word for it) landscape are an unnamed man and his emaciated son, a boy probably around the age of ten. It is the love the father feels for his son, a love as deep and acute as his grief, that could surprise readers of McCarthy's previous work. McCarthy's Gnostic impressions of mankind have left very little place for love. In fact that greatest love affair in any of his novels, I would argue, occurs between the Billy Parham and the wolf in The Crossing. But here the love of a desperate father for his sickly son transcends all else. McCarthy has always written about the battle between light and darkness; the darkness usually comprises 99.9% of the world, while any illumination is the weak shaft thrown by a penlight running low on batteries. In The Road, those batteries are almost out--the entire world is, quite literally, dying--so the final affirmation of hope in the novel's closing pages is all the more shocking and maybe all the more enduring as the boy takes all of his father's (and McCarthy's) rage at the hopeless folly of man and lays it down, lifting up, in its place, the oddest of all things: faith. --Dennis Lehane

---

Excerpt

When he woke in the woods in the dark and the cold of the night he'd reach out to touch the child sleeping beside him. Nights dark beyond darkness and the days more gray each one than what had gone before. Like the onset of some cold glaucoma dimming away the world. His hand rose and fell softly with each precious breath. He pushed away the plastic tarpaulin and raised himself in the stinking robes and blankets and looked toward the east for any light but there was none. In the dream from which he'd wakened he had wandered in a cave where the child led him by the hand. Their light playing over the wet flowstone walls. Like pilgrims in a fable swallowed up and lost among the inward parts of some granitic beast. Deep stone flues where the water dripped and sang. Tolling in the silence the minutes of the earth and the hours and the days of it and the years without cease. Until they stood in a great stone room where lay a black and ancient lake. And on the far shore a creature that raised its dripping mouth from the rimstone pool and stared into the light with eyes dead white and sightless as the eggs of spiders. It swung its head low over the water as if to take the scent of what it could not see. Crouching there pale and naked and translucent, its alabaster bones cast up in shadow on the rocks behind it. Its bowels, its beating heart. The brain that pulsed in a dull glass bell. It swung its head from side to side and then gave out a low moan and turned and lurched away and loped soundlessly into the dark.

With the first gray light he rose and left the boy sleeping and walked out to the road and squatted and studied the country to the south. Barren, silent, godless. He thought the month was October but he wasnt sure. He hadnt kept a calendar for years. They were moving south. There'd be no surviving another winter here.

When it was light enough to use the binoculars he glassed the valley below. Everything paling away into the murk. The soft ash blowing in loose swirls over the blacktop. He studied what he could see. The segments of road down there among the dead trees. Looking for anything of color. Any movement. Any trace of standing smoke. He lowered the glasses and pulled down the cotton mask from his face and wiped his nose on the back of his wrist and then glassed the country again. Then he just sat there holding the binoculars and watching the ashen daylight congeal over the land. He knew only that the child was his warrant. He said: If he is not the word of God God never spoke.

When he got back the boy was still asleep. He pulled the blue plastic tarp off of him and folded it and carried it out to the grocery cart and packed it and came back with their plates and some cornmeal cakes in a plastic bag and a plastic bottle of syrup. He spread the small tarp they used for a table on the ground and laid everything out and he took the pistol from his belt and laid it on the cloth and then he just sat watching the boy sleep. He'd pulled away his mask in the night and it was buried somewhere in the blankets. He watched the boy and he looked out through the trees toward the road. This was not a safe place. They could be seen from the road now it was day. The boy turned in the blankets. Then he opened his eyes. Hi, Papa, he said.

I'm right here.

I know.

An hour later they were on the road. He pushed the cart and both he and the boy carried knapsacks. In the knapsacks were essential things. In case they had to abandon the cart and make a run for it. Clamped to the handle of the cart was a chrome motorcycle mirror that he used to watch the road behind them. He shifted the pack higher on his shoulders and looked out over the wasted country. The road was empty. Below in the little valley the still gray serpentine of a river. Motionless and precise. Along the shore a burden of dead reeds. Are you okay? he said. The boy nodded. Then they set out along the blacktop in the gunmetal light, shuffling through the ash, each the other's world entire.

They crossed the river by an old concrete bridge and a few miles on they came upon a roadside gas station. They stood in the road and studied it. I think we should check it out, the man said. Take a look. The weeds they forded fell to dust about them. They crossed the broken asphalt apron and found the tank for the pumps. The cap was gone and the man dropped to his elbows to smell the pipe but the odor of gas was only a rumor, faint and stale. He stood and looked over the building. The pumps standing with their hoses oddly still in place. The windows intact. The door to the service bay was open and he went in. A standing metal toolbox against one wall. He went through the drawers but there was nothing there that he could use. Good half-inch drive sockets. A ratchet. He stood looking around the garage. A metal barrel full of trash. He went into the office. Dust and ash everywhere. The boy stood in the door. A metal desk, a cashregister. Some old automotive manuals, swollen and sodden. The linoleum was stained and curling from the leaking roof. He crossed to the desk and stood there. Then he picked up the phone and dialed the number of his father's house in that long ago. The boy watched him. What are you doing? he said.

A quarter mile down the road he stopped and looked back. We're not thinking, he said. We have to go back. He pushed the cart off the road and tilted it over where it could not be seen and they left their packs and went back to the station. In the service bay he dragged out the steel trashdrum and tipped it over and pawed out all the quart plastic oilbottles. Then they sat in the floor decanting them of their dregs one by one, leaving the bottles to stand upside down draining into a pan until at the end they had almost a half quart of motor oil. He screwed down the plastic cap and wiped the bottle off with a rag and hefted it in his hand. Oil for their little slutlamp to light the long gray dusks, the long gray dawns. You can read me a story, the boy said. Cant you, Papa? Yes, he said. I can.

. . .

On the far side of the river valley the road passed through a stark black burn. Charred and limbless trunks of trees stretching away on every side. Ash moving over the road and the sagging hands of blind wire strung from the blackened lightpoles whining thinly in the wind. A burned house in a clearing and beyond that a reach of meadowlands stark and gray and a raw red mudbank where a roadworks lay abandoned. Farther along were billboards advertising motels. Everything as it once had been save faded and weathered. At the top of the hill they stood in the cold and the wind, getting their breath. He looked at the boy. I'm all right, the boy said. The man put his hand on his shoulder and nodded toward the open country below them. He got the binoculars out of the cart and stood in the road and glassed the plain down there where the shape of a city stood in the grayness like a charcoal drawing sketched across the waste. Nothing to see. No smoke. Can I see? the boy said. Yes. Of course you can. The boy leaned on the cart and adjusted the wheel. What do you see? the man said. Nothing. He lowered the glasses. It's raining. Yes, the man said. I know.

They left the cart in a gully covered with the tarp and made their way up the slope through the dark poles of the standing trees to where he'd seen a running ledge of rock and they sat under the rock overhang and watched the gray sheets of rain blow across the valley. It was very cold. They sat huddled together wrapped each in a blanket over their coats and after a while the rain stopped and there was just the dripping in the woods.

When it had cleared they went down to the cart and pulled away the tarp and got their blankets and the things they would need for the night. They went back up the hill and made their camp in the dry dirt under the rocks and the man sat with his arms around the boy trying to warm him. Wrapped in the blankets, watching the nameless dark come to enshroud them. The gray shape of the city vanished in the night's onset like an apparition and he lit the little lamp and set it back out of the wind. Then they walked out to the road and he took the boy's hand and they went to the top of the hill where the road crested and where they could see out over the darkening country to the south, standing there in the wind, wrapped in their blankets, watching for any sign of a fire or a lamp. There was nothing. The lamp in the rocks on the side of the hill was little more than a mote of light and after a while they walked back. Everything too wet to make a fire. They ate their poor meal cold and lay down in their bedding with the lamp between them. He'd brought the boy's book but the boy was too tired for reading. Can we leave the lamp on till I'm asleep? he said. Yes. Of course we can.

He was a long time going to sleep. After a while he turned and looked at the man. His face in the small light streaked with black from the rain like some old world thespian. Can I ask you something? he said.

Yes. Of course.

Are we going to die?

Sometime. Not now.

And we're still going south.

Yes.

So we'll be warm.

Yes.

Okay.

Okay what?

Nothing. Just okay.

Go to sleep.

Okay.

I'm going to blow out the lamp. Is that okay?

Yes. That's okay.

And then later in the darkness: Can I ask you something?

Yes. Of course you can.

What would you do if I died?

If you died I would want to die too.

So you could be with me?

Yes. So I could be with you.

Okay.

He lay listening to the water drip in the woods. Bedrock, this. The cold and the silence. The ashes of the late world carried on the bleak and temporal winds to and fro in the void. Carried forth and scattered and carried forth again. Everything uncoupled from its shoring. Unsupported in the ashen air. Sustained by a breath, trembling and brief. If only my heart were stone.

He woke before dawn and watched the gray day break. Slow and half opaque. He rose while the boy slept and pulled on his shoes and wrapped in his blanket he walked out through the trees. He descended into a gryke in the stone and there he crouched coughing and he coughed for a long time. Then he just knelt in the ashes. He raised his face to the paling day. Are you there? he whispered. Will I see you at the last? Have you a neck by which to throttle you? Have you a heart? Damn you eternally have you a soul? Oh God, he whispered. Oh God.

They passed through the city at noon of the day following. He kept the pistol to hand on the folded tarp on top of the cart. He kept the boy close to his side. The city was mostly burned. No sign of life. Cars in the street caked with ash, everything covered with ash and dust. Fossil tracks in the dried sludge. A corpse in a doorway dried to leather. Grimacing at the day. He pulled the boy closer. Just remember that the things you put into your head are there forever, he said. You might want to think about that.

You forget some things, dont you?

Yes. You forget what you want to remember and you remember what you want to forget.

There was a lake a mile from his uncle's farm where he and his uncle used to go in the fall for firewood. He sat in the back of the rowboat trailing his hand in the cold wake while his uncle bent to the oars. The old man's feet in their black kid shoes braced against the uprights. His straw hat. His cob pipe in his teeth and a thin drool swinging from the pipebowl. He turned to take a sight on the far shore, cradling the oarhandles, taking the pipe from his mouth to wipe his chin with the back of his hand. The shore was lined with birchtrees that stood bone pale against the dark of the evergreens beyond. The edge of the lake a riprap of twisted stumps, gray and weathered, the windfall trees of a hurricane years past. The trees themselves had long been sawed for firewood and carried away. His uncle turned the boat and shipped the oars and they drifted over the sandy shallows until the transom grated in the sand. A dead perch lolling belly up in the clear water. Yellow leaves. They left their shoes on the warm painted boards and dragged the boat up onto the beach and set out the anchor at the end of its rope. A lardcan poured with concrete with an eyebolt in the center. They walked along the shore while his uncle studied the treestumps, puffing at his pipe, a manila rope coiled over his shoulder. He picked one out and they turned it over, using the roots for leverage, until they got it half floating in the water. Trousers rolled to the knee but still they got wet. They tied the rope to a cleat at the rear of the boat and rowed back across the lake, jerking the stump slowly behind them. By then it was already evening. Just the slow periodic rack and shuffle of the oarlocks. The lake dark glass and windowlights coming on along the shore. A radio somewhere. Neither of them had spoken a word. This was the perfect day of his childhood. This the day to shape the days upon.

Excerpted from The Road by Cormac McCarthy Copyright © 2006 by M-71, Ltd.. Excerpted by permission of Vintage, a division of Random House, Inc. All rights reserved. view abbreviated excerpt only...

Discussion Questions

From the Publisher:

1. Cormac McCarthy has an unmistakable prose style. What do you see as the most distinctive features of that style? How is the writing in The Road in some ways more like poetry than narrative prose?

2. Why do you think McCarthy has chosen not to give his characters names? How do the generic labels of "the man" and "the boy" affect the way in which readers relate to them?

3. How is McCarthy able to make the postapocalyptic world of The Road seem so real and utterly terrifying? Which descriptive passages are especially vivid and visceral in their depiction of this blasted landscape? What do you find to be the most horrifying features of this world and the survivors who inhabit it?

4. McCarthy doesn't make explicit what kind of catastrophe has ruined the earth and destroyed human civilization, but what might be suggested by the many descriptions of a scorched landscape covered in ash? What is implied by the father's statement that "On this road there are no godspoke men. They are gone and I am left and they have taken with them the world" [p. 32]?

5. As the father is dying, he tells his son he must go on in order to "carry the fire." When the boy asks if the fire is real, the father says, "It's inside you. It was always there. I can see it" [p. 279]. What is this fire? Why is it so crucial that they not let it die?

6. McCarthy envisions a postapocalyptic world in which "murder was everywhere upon the land" and the earth would soon be "largely populated by men who would eat your children in front of your eyes" [p. 181]. How difficult or easy is it to imagine McCarthy's nightmare vision actually happening? Do you think people would likely behave as they do in the novel, under the same circumstances? Does it now seem that human civilization is headed toward such an end?

7. The man and the boy think of themselves as the "good guys." In what ways are they like and unlike the "bad guys" they encounter? What do you think McCarthy is suggesting in the scenes in which the boy begs his father to be merciful to the strangers they encounter on the road? How is the boy able to retain his compassion--to be, as one reviewer put it, "compassion incarnate"?

8. The sardonic blind man named Ely who the man and boy encounter on the road tells the father that "There is no God and we are his prophets" [p. 170]. What does he mean by this? Why does the father say about his son, later in the same conversation, "What if I said that he's a god?" [p. 172] Are we meant to see the son as a savior?

9. The Road takes the form of a classic journey story, a form that dates back to Homer's Odyssey. To what destination are the man and the boy journeying? In what sense are they "pilgrims"? What, if any, is the symbolic significance of their journey?

10. McCarthy's work often dramatizes the opposition between good and evil, with evil sometimes emerging triumphant. What does The Road ultimately suggest about good and evil? Which force seems to have greater power in the novel?

11. What makes the relationship between the boy and his father so powerful and poignant? What do they feel for each other? How do they maintain their affection for and faith in each other in such brutal conditions?

12. Why do you think McCarthy ends the novel with the image of trout in mountain streams before the end of the world: "In the deep glens where they lived all things were older than man and they hummed of mystery" [p. 287]. What is surprising about this ending? Does it provide closure, or does it prompt a rethinking of all that has come before? What does it suggest about what lies ahead?

Suggested by Members

by littledb (see profile) 04/06/11

by tessireland (see profile) 10/15/09

by bchamplin (see profile) 08/06/09

Weblinks

»	Publisher's Book Info
»	Reviews
»	Publisher's Reading Guide with suggested reading and author information
»	Author Bio From the publisher
»	Oprah's Book Club Page

Book Club Recommendations

Recommended to book clubs by 21 of 23 members.

Member Reviews

Rate this book