By Stuart Mitchner

In a November 2022 essay posted on nautil.us, Santa Fe Institute President David Krakauer refers to SFI member Cormac McCarthy’s “subterranean connections” to James Agee, author of Let Us Now Praise Famous Men (1941), “a book that we keep in our library and that Cormac retrieves from time to time to remind us of the intimate connections between language and image, indigence and character, and the multifarious beauty found far from so-called civilized spotlights.” 

I found the phrase “subterranean connections” interesting in relation to the richness of McCarthy’s prose, most recently the striking one-page prologue to The Passenger/Stella Maris (Knopf 2022), now available as a two-volume set. It was while rereading the bravura passage describing Alicia Western’s body hanging among the winter trees that I first noticed intimations of Agee’s prose presence, particularly in lines such as “her hands turned slightly outward like those of certain ecumenical statues whose attitude asks that their history be considered.”

The “multifarious beauty” of Let Us Now Praise Famous Men is reflected in a sharecropper’s mirror in one of the homes Agee and the photographer Walker Evan visited in 1936: “The mirror is so far corrupted that it is rashed with gray, iridescent in parts, and in all its reflections a deeply sad thin zinc-to-platinum, giving to its framings an almost incalculably ancient, sweet, frail, and piteous beauty, such as may be seen in tintypes of family groups among studio furnishings or heard in nearly exhausted jazz records made by very young, insane, devout men who were soon to destroy themselves, in New Orleans, in the early nineteen twenties.”

McCarthy’s prologue to The Passenger ends as the hunter who discovers the body “looked up into those cold enameled eyes glinting blue in the weak winter light. She had tied her dress with a red sash so that she’d be found. Some bit of color in the scrupulous desolation.” more