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The Crossing: Border Trilogy (2): Vol 2 (Vintage International)

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On Billy Parham’s second journey into Mexico, where he spends most of his time between the northern town of Casas Grandes and the southern town of Santa Ana de Babícora, these two relatively large towns have remained constant and verifiable between 1922 and the present. The smaller villages (or pueblos) had to be hunted down on Google Maps by "flying" close to the ground along the indicated route. Through this means, the pueblos of Mata Ortiz, San Jose (judged to be the existing pueblo of San Jose de Ermita), and La Pinta were located. In what ways does The Crossing resemble classic myths and fairy tales? How do Billy and Boyd Parham compare to the figures that Joseph Campbell describes in The Hero with a Thousand Faces? About this Author The Crossing is a book of dreams and auguries. Early in the novel Boyd has a dream of people burning on a dry lake [p. 35]; Billy dreams he sees his father wandering lost in the desert and being swallowed by darkness [p. 112]. Later in his journey, Billy is taken in by Indians whose elder calls him "huerfano"–orphan [p. 134]–thus predicting the murder of his parents. What is the role of portents–both accurate and inaccurate–in this book? Discuss the meaning of the observation: "The world was new each day for God so made it daily. Yet it contained within it all the evils as before" [p. 278]. How are these words applicable to the novel’s action? Voi cosa dite? Voi che parole pronunciate di fronte a un foglio e dell'inchiostro? Che potere avete voi, che potere abbiamo noi, davanti a un libro scritto in questo modo?

Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives. Before he reached the door the old man called to him again. The boy turned and stood. The matrix will not help you, the old man said. He said to catch the wolf the boy should find that place where the acts of God and those of man are of one piece. Where they cannot be distinguished. The old man said that it was not a question of finding such a place but rather of knowing it when it presented itself. He said that it was at such places that God sits and conspires in the destruction of that which he has been at such pains to create.” The process involved using base maps of Sonora and Chihuahua, Mexico from 1922 as well as a Texaco Road Map of Arizona and New Mexico from 1935. The road map was surprisingly inclusive of geological features. These maps, especially the Mexican maps, were supplemented with detailed searches of Google Maps for villages of the mentioned names. I was surprised to see that the Mexican Maps mentioned places such as El Tigre in Sonora, Mexico and San Diego in Chihuahua, Mexico.Critics disagree about the greater significance of Billy's encounters with the wolf. Wallis Sanborn argues that “[a]lthough noble, Parham’s mission to return the captured she-wolf to Mexico is abjectly flawed . . . [it is] nothing more than a man violently controlling a wild animal through the guise of pseudo-nobility” (143). [4] Raymond Malewitz argues that the wolf's "literary agency" becomes visible when Billy's way of thinking about the wolf conflicts with the way the narrator describes the creature. [5] Of the priest what can be said? As with all priests his mind had become clouded by the illusion of its proximity to God. The tone is dark. Billy suffers many hardships. His motivations are not always apparent. Sometimes he just “decides to do something” without thinking it through, and the consequences are dire. Uno nunca sabe que cosas pone en marcha, dijo. Nadie puede saberlo. No hay profeta capaz de predecirlo. Las consecuencias de una acción son a menudo bastante distintas de lo que uno pensaba. Asegúrese de que lo que le mueve en el fondo del corazón es lo bastante grande como para contener todos los virajes equivocados, todas las decepciones."

Fate exists, but it is also possible to shape it. We are not left without some control. In this there is implied a smidgen of hope. Scusatemi, sto cercando di razionalizzare un po'. Sono sconvolto, davvero sconvolto. Sono arrivato all'ultima riga con gli occhi pieni di lacrime senza sapere neanche bene il perché. So solo che dentro ero completamente scosso. Ancora adesso faccio una fatica immensa a ragionare, a restare lucido. Le parole, di fronte a certe pagine, vengono meno. En realidad el mundo sigue un camino que no está fijado en ningún lugar. ¿Cómo iba a estarlo? Nosotros mismos somos nuestro propio viaje. Y por eso también somos el tiempo. Somos como el tiempo. Huidizos. Inescrutables. Despiadados.” Bill Parham tiene dieciséis años y sale de casa para atrapar una loba que ha estado acechando los rebaños de su familia. La captura pero en lugar de matarla decide cruzar la frontera y llevarla de vuelta a la tierra de donde procede, a las montañas de México. Ésta será la primera vez que Bill cruzará la frontera y es en este viaje, donde aprenderá que el mundo en el que vive no tiene un orden marcado o quizá sí, el orden marcado por la violencia y la muerte. La odisea iniciática de Bill en compañía de la loba, que ocupa el primer tercio de la novela, se convierte en una travesía casi suspendida en el limbo, fuera del tiempo, donde el paisaje y la violencia más salvaje confluyen continuamente una con otra, la naturaleza en todo su esplendor enfrentada a la violencia que marca el hombre cuando aparece. Incluso se podría decir que este primer tercio de la novela donde se relata la conexión entre Bill y la loba, podrían funcionar como un relato independiente, una experiencia que marcará a Bill y que le enseñará que el mundo es oscuro e impenetrable allí donde el hombre campa a sus anchas.What they find instead, is an extraordinary panoply of fiestas and circuses, dogs, horses and hawks, pilgrims and revolutionaries, grand haciendas and forlorn cantinas, bandits, gypsies and roving tribes, a young girl alone on the road, a mystery in the mountain wilds, and a myth in the making. Because an adventure without mapping it is not worth the journey, I attempted to plot Billy’s path through his three journeys into Mexico and the large-area search he performed while in Mexico. Un copo de nieve. Tú atrapas un copo de nieve pero cuando te miras la mano ya no está. Puede que veas este dechado. Pero antes de que puedas verlo ha desaparecidog. Si quieres verlo tienes que verlo en tu propio terreno. Si lo atrapas lo pierdes. Y a donde va no hay camino de vuelta." Billy’s furthest trek south was to the town of Cuauhtemoc, which was verified as once being called San Antonio. San Antonio is plotted on the 1922 map. Billy’s path to Cuauhtemoc and subsequently to La Nortena, however, are speculative.

Voglio solamente dire a chi è arrivato fino in fondo, che questi libri vi distruggono. Non vi cambiano la vita, non vi salvano. Vi distruggono. La bellezza ha quest'effetto. With each of these three crossings Billy will change, and so will his relationship with the land and those who inhabit it. He begins the book as a boy; he will end it as a man, with all the burdens and sorrows associated with it. I felt kinship with Billy because I too have changed since I've read All the Pretty Horses all these years ago. In many ways I still am the person I was then, but in many others I'm not; it feels strange reading the words I wrote to review that book and observe how much time has passed.

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y la loba se sentaron juntos a oscuras y vieron como las sombras emergían en el prado y trotaban y se desvanecían y volvían a emerger. La loba miraba con las orejas apuntando hacia delante y olisqueaba el aire, primero en una dirección, luego en otra, como si quisiera instigar la vida del mundo. Él se sentó arrebujado con la manta y contempló las sombras en movimiento mientras la luna se elevaba sobre las montañas que se erguían a su espalda, y a lo lejos, a orillas del Bavispe, las luces parpadearon una a una hasta extinguirse por completo.” Che cosa sa Caborca di Huisiachepic e che cosa sa Huisiachepic di Caborca? Sono mondi diversi, dovrai convenire con me. Eppure anche così c'è solo un mondo e qualsiasi cosa tu possa immaginare è un suo elemento necessario. Perché questo mondo che ci pare una cosa fatta di pietra, vegetazione e sangue non è affatto una cosa ma è semplicemente una storia. E tutto ciò che esso contiene è una storia e ciascuna storia è la somma di tutte le storie minori, eppure queste sono la medesima storia e contengono in esse tutto il resto. Quindi tutto è necessario. Ogni minimo particolare. È questa in fondo la lezione. Non si può fare a meno di nulla. Nulla può venire disprezzato. Perché, vedi, non sappiamo dove stanno i fili. I collegamenti. Il modo in cui è fatto il mondo. Non abbiamo modo di sapere quali sono le cose di cui si può fare a meno. Ciò che può venire omesso. Non abbiamo modo di sapere che cosa può stare in piedi e che cosa può cadere. E quei fili che ci sono ignoti fanno naturalmente parte anch'essi della storia e la storia non ha dimora né luogo d'essere se non nel racconto, è lì che vive e dimora e quindi non possiamo mai aver finito di raccontare. Non c'è mai fine al raccontare. E, ripeto, sia a Caborca che a Huisiachepic che in qualsiasi altro posto con qualsiasi altro nome o senza nome alcuno, tutte le storie sono una cosa sola. Se ascolti come si deve, sono una unica storia. Grounded in reality, it's like a Western elevated to allegory. An ode to lost ways, lost lives, and the perpetual grind of history. The characters resonate with an abundance of depth by way of a few short lines breathing life through facial expression, postures, terse dialogue.

Anche il periodo storico è simile, qualche anno prima di Cavalli selvaggi: dal 1949, questa volta l’azione si sposta a pochi anni prima e durante l’ultima grande guerra. I gatti si muovevano, il fuoco scoppiettava nella stufa. Fuori, nel villaggio abbandonato, il silenzio più profondo. What role does hospitality play in this book? Is there any relation between the novel’s scenes of hospitality and its moments of violence?

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When Billy finally catches the animal, he harnesses her and, instead of killing her, determines to return her to the mountains of Mexico where he believes her original home is located. He develops a deep affection for and bond with the wolf, risking his life to save her on more than one occasion. Alzó los ojos. De tan pálido su pelo parecía blanco. Por el aspecto parecía tener catorce años camino de una edad que nunca alcanzaría. Era como si hubiera estado allí sentado y Dios hubiese hecho los árboles y las rocas alrededor de él. Por encima de todo parecía estar lleno de una tristeza terrible. Como si albergara noticias de cierta pérdida horrenda que solo había llegado a oídos de él. Una inmensa tragedia, pero no debido a un hecho, un incidente o un acontecimiento, sino por el modo de ser del mundo.” Things separate from their stories have no meaning. They are only shapes. Of a certain size and color. A certain weight. When their meaning has become lost to us they no longer have even a name. The story on the other hand can never be lost from its place in the world for it is that place. And that is what was to be found here. The corrido. The tale. And like all corridos it ultimately told one story only, for there is only one to tell.

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