Philip Hensher

A sunken wreck of a novel: Cormac McCarthy’s The Passenger reviewed

A promising plot about a mysterious plane crash is lost in rambling meditations on psychosis, string theory and JFK’s assassination

Like many American novelists, McCarthy has been misled by the conviction that he needs to say something important [Alamy] 
issue 19 November 2022

Is Cormac McCarthy among the last generation of novelists to possess a Style? Of course all writers have a characteristic style, however unassuming; but not many these days have a Style in the grand manner, the sort that Kingsley Amis (I think writing about Nabokov) described as a high level of flutter and wow.

There are conversations about what I think of as ‘novelists’ science’, not really intended to be understood

The great beasts of American literature have often aimed for prose that couldn’t be mistaken for anyone else’s – Hemingway, Faulkner, Bellow, Updike. Though there were always intensely mannered novelists in England, they had less of a heroically manly quality – Firbank, Wodehouse, Elizabeth Bowen, Henry Green. There are certainly novelists at work now with a beautiful command of style, such as Peter Carey or Colson Whitehead, but few for whom style is everything, and most, like McCarthy, are getting on a bit.

Written by
Philip Hensher
Philip Hensher is professor of Creative Writing at Bath Spa University and the author of 11 novels including A Small Revolution in Germany.

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