The horses are more than a means of transportation for John Grady and Rawlins; they are friends. A young woman wakes up early to drop her baby at a childcare center. These young adventurers are surely the stuff dreams are made of. The Mexican Revolution that affects so much of what happens in Mexico is 40-year-old history, and it stays with those who lived through it, haunting them and affecting their lives decades later. Yet with the loss of one more significant thing, John Grady Cole may not be able to keep it together.
He will keep searching until he finds it, and will never give until then. They connect the old men and the young, the Mexicans and the Americans. This speaks to the unequal economic realities of each place—realities of which the boys are largely ignorant. Cormac McCarthy's novel All the Pretty Horses concerns itself with the meeting place between realism and romanticism. After a nap, John Grady sees the same boy riding towards them. The story begins in 1949, soon after the death of John Grady's grandfather when Grady learns the ranch is to be sold. John Grady asks in Spanish for something to drink, and she hands them cider, which Rawlins pays for with a dollar bill with a hole at each end.
At first they were all about themselves, but now they are reluctantly, yet still helping another person. Once free, Rawlins decides to head back home to Texas. It could be that he is still looking for his? Horses connect the men and women, not just John Grady and Alejandra, but his parents. After there time in prison, the boys are changed forever. As they ride into Mexico, they realize that they are no longer in a world that they can understand. When Rawlins asks why Blevins wanted to go to Mexico, he says it was for the same reason as Rawlins: no one could find him there.
John Grady eventually returns to Texas and spends months trying to find the owner of Blevins' horse. They are brought to a dismal Mexican holding cell where they discover Blevins is also in custody. So the images that the pretty horses call up are not all positive and romantic. But Blevins says the pistol is with the horse. His father tells him that the two his parents had in common a great love of horses, and they were mistaken in thinking that was enough.
A mile away they catch up with Blevins. They decline this offer of protection, because they have no money and Rawlins is soon severely wounded by a knife-wielding inmate and is taken away; Grady is not sure if Rawlins has survived. It is important to note here the means of travel. Dreams of finding something new. John Grady Cole comes to the conclusion to move on and follow his dream even if that means leaving behind his family and everything he knows. In addition, from Hemingway, McCarthy gets inspiration for his characters. Other authors also influence McCarthy's work.
Blevins winds up in trouble and drags both John Grady Cole and Rawlins into the mess. Another old vaquero tells John Grady that horses love war. We also see how horses symbolize their manhood and becomes all that they have left from the experience. The heir of an aristocratic family, Don Hector is avidly interested in breeding wild mountain horses with his own stock, so John Grady and Rawlins join the vaqueros; John Grady amazes everyone with his ability to break the wild horses quickly and gently. The Border Trilogy continues with Volume Two, The Crossing, and concludes with the third volume, Cities of the Plain. Rawlins says someone can sneeze somewhere in Arkansas and that can lead to war. Here begins the adventure of John Grady and his best friend Lacey Rawlins.
The story begins with the wake of John Grady Cole's grandfather and takes us through the two friends' adventures, from beginning to end, when they return to the San Angelo area from Mexico. Cole sets his standards up so high that he unknowingly deals himself a bad hand. Instead, they buy a canteen of sotol an alcoholic drink and are drunk by evening. First, an artist imagined these horses, quickly dismissed between bites of food by the grandfather, but remembered by John Grady. Traveling by horseback, the pair travel southward into Mexico, where they hope to find work as cowboys. In San Angelo, his life lent itself to a vacuous limbo - his mother neither offered him guidance nor ceded him control, his father is a beaten man on his last breaths, his last relationship with a girl ended apathetically. He hoists Blevins up onto the back of his own horse.
But something seemed askew because the heads, bodies, and legs of the horses did not fit as he'd seen them in real horses. They encounter the vaqueros, who tell them about this part of the country. But Alejandra comes to him one night and they become lovers. So the cowboy has a special masculine aura, partly the aura all great athletes have, going back to the Greeks, but a more special one because the aura of the horse is inextricably bound up with the cowboy's aura. Horses We have come to associate the wild west with guns as the symbols of manhood, but that is not the case in the novel. John Grady and Rawlins are finally free of Blevins, though not on the terms that either of them would have wanted.
Loss of Innocence Loss of innocence is a recurring theme in All the Pretty Horses. In the novel, a horse is what makes a man, a man. This is their last chance to just leave Blevins. Rawlins spits in disgust and John Grady curses at him to get back on the horse. This is an honest tale. The horses had Andalusian and Barb features, and as John Grady grew, he analyzed them and saw that they had good cutting horse hindquarters. .
He tests it, and one of the men asks if the blond Blevins is his brother. And those of us who have come after are forever in awe of the risks they all took, the suffering they endured. But John Grady goes back to La Purisima to search for Alejandra, who is not there. If we consider the first version of the lullaby I posted, the song carries a sweetness that suggests the woman can be singing this song intending it towards her own child. As many have noted, rider and horse are one being, not two.