If you like the way McCarthy writes, you really should try Thomas Hardy if you haven’t. I made the following post three years ago in /r/cormacmccarthy but I would like to share it here too. Might seem weird to link these two authors who have quite different styles, but just read the excerpts below and you’ll see what I mean.

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Just started reading The Woodlanders by Thomas Hardy and have been struck by some passages that resemble, in some ways, the way that McCarthy writes, be it an “as if” construction or the way that McCarthy waxes poetic on a given subject, or the cosmic/metaphysical associations he often makes, or the archaic diction (see “antelucan” below).

Not to say that their writing styles are the same, because they are not, but I feel an affinity between the two. Here are some excerpts from the first three chapters of The Woodlanders:

Chapter 1:

The rambler who, for old association or other reasons, should trace the forsaken coach-road running almost in a meridional line from Bristol to the south shore of England, would find himself during the latter half of his journey in the vicinity of some extensive woodlands, interspersed with apple-orchards. Here the trees, timber or fruit-bearing, as the case may be, make the wayside hedges ragged by their drip and shade, stretching over the road with easeful horizontality, as if they found the unsubstantial air an adequate support for their limbs. At one place, where a hill is crossed, the largest of the woods shows itself bisected by the high-way, as the head of thick hair is bisected by the white line of its parting. The spot is lonely.

The physiognomy of a deserted highway expresses solitude to a degree that is not reached by mere dales or downs, and bespeaks a tomb-like stillness more emphatic than that of glades and pools. The contrast of what is with what might be probably accounts for this. To step, for instance, at the place under notice, from the hedge of the plantation into the adjoining pale thoroughfare, and pause amid its emptiness for a moment, was to exchange by the act of a single stride the simple absence of human companionship for an incubus of the forlorn.

…

The vehicle had a square black tilt which nodded with the motion of the wheels, and at a point in it over the driver’s head was a hook to which the reins were hitched at times, when they formed a catenary curve from the horse’s shoulders. Somewhere about the axles was a loose chain, whose only known purpose was to clink as it went.

…

Thus they rode on till they turned into a half-invisible little lane, whence, as it reached the verge of an eminence, could be discerned in the dusk, about half a mile to the right, gardens and orchards sunk in a concave, and, as it were, snipped out of the woodland. From this self-contained place rose in stealthy silence tall stems of smoke, which the eye of imagination could trace downward to their root on quiet hearth-stones festooned overhead with hams and flitches. It was one of those sequestered spots outside the gates of the world where may usually be found more meditation than action, and more passivity than meditation; where reasoning proceeds on narrow premises, and results in inferences wildly imaginative; yet where, from time to time, no less than in other places, dramas of a grandeur and unity truly Sophoclean are enacted in the real, by virtue of the concentrated passions and closely knit interdependence of the lives therein.

Chapter 2:

The palm was red and blistering, as if this present occupation were not frequent enough with her to subdue it to what it worked in. As with so many right hands born to manual labor, there was nothing in its fundamental shape to bear out the physiological conventionalism that gradations of birth, gentle or mean, show themselves primarily in the form of this member. Nothing but a cast of the die of destiny had decided that the girl should handle the tool; and the fingers which clasped the heavy ash haft might have skilfully guided the pencil or swept the string, had they only been set to do it in good time.

Chapter 3:

She wrapped round her a long red woollen cravat and opened the door. The night in all its fulness met her flatly on the threshold, like the very brink of an absolute void, or the antemundane Ginnung-Gap believed in by her Teuton forefathers. For her eyes were fresh from the blaze, and here there was no street-lamp or lantern to form a kindly transition between the inner glare and the outer dark. A lingering wind brought to her ear the creaking sound of two over-crowded branches in the neighboring wood which were rubbing each other into wounds, and other vocalized sorrows of the trees, together with the screech of owls, and the fluttering tumble of some awkward wood-pigeon ill-balanced on its roosting-bough.

…

The four huge wagons under the shed were built on those ancient lines whose proportions have been ousted by modern patterns, their shapes bulging and curving at the base and ends like Trafalgar line-of-battle ships, with which venerable hulks, indeed, these vehicles evidenced a constructed spirit curiously in harmony.

…

Melbury, perhaps, was an unlucky man in having within him the sentiment which could indulge in this foolish fondness about the imprint of a daughter’s footstep. Nature does not carry on her government with a view to such feelings, and when advancing years render the open hearts of those who possess them less dexterous than formerly in shutting against the blast, they must suffer “buffeting at will by rain and storm” no less than Little Celandines.

…

They went out and walked together, the pattern of the air-holes in the top of the lantern being thrown upon the mist overhead, where they appeared of giant size, as if reaching the tent-shaped sky. They had no remarks to make to each other, and they uttered none. Hardly anything could be more isolated or more self-contained than the lives of these two walking here in the lonely antelucan hour, when gray shades, material and mental, are so very gray. And yet, looked at in a certain way, their lonely courses formed no detached design at all, but were part of the pattern in the great web of human doings then weaving in both hemispheres, from the White Sea to Cape Horn.

I’ve read Tess of the d’Urberviles and The Mayor of Casterbridge, but never noticed this connection, though it has been a while since I read them. Do you see what I am seeing? Has anyone else noticed this in his other work? I know from Books Are Made Out of Books that McCarthy has singled Hardy out as not one of the English Victorian novelists he dislikes.