This thesis applies the metaphysics of philosopher Gilles Deleuze to Cormac McCarthy’s novel Blood Meridian, arguing that the novel initiates a thread of immanent subjectivity that unfolds throughout the Border Trilogy that follows it. Against a hierarchical metaphysics of transcendence, specifically an inverted Platonic Idealism, Blood Meridian dramatizes an immanent world of “optical democracy,” a prose style that levels the human and nonhuman and eludes subject and object categories. The kid’s autonomy from Judge Holden’s violent domination marks the truncated beginning of a Deleuzian subjectivity of becoming-other and immanent kinship. This incomplete gesture continues in the Border Trilogy, where its protagonists enact a more sustained subjectivity of identification with animals, forgotten peoples, and vanished worlds. Thus, together Blood Meridian and the Border Trilogy form a “Border Tetralogy” in which McCarthy charts a dialectic move from transcendence to immanence and from subjection to hierarchies of violence to fragile, conjunctive forms of kinship. Since historicist approaches to McCarthy’s Westerns often read them as imaginative critiques of Manifest Destiny and colonialism, this metaphysical exploration of the “Border Tetralogy” can serve as an inquiry into the conceptual underpinnings that make historiography and nationalist mythologies possible. Moreover, a Deleuzian reversal of Holden’s inverted Platonism can open Blood Meridian to readings that avoid deterministic nihilism, creating space for a more affirmative metaphysical and moral vision of the novel and of McCarthy’s work in general.
","abstract_html":"<p>This thesis applies the metaphysics of philosopher Gilles Deleuze to Cormac McCarthy’s novel <em>Blood Meridian</em>, arguing that the novel initiates a thread of immanent subjectivity that unfolds throughout the Border Trilogy that follows it. Against a hierarchical metaphysics of transcendence, specifically an inverted Platonic Idealism, <em>Blood Meridian</em> dramatizes an immanent world of “optical democracy,” a prose style that levels the human and nonhuman and eludes subject and object categories. The kid’s autonomy from Judge Holden’s violent domination marks the truncated beginning of a Deleuzian subjectivity of becoming-other and immanent kinship. This incomplete gesture continues in the Border Trilogy, where its protagonists enact a more sustained subjectivity of identification with animals, forgotten peoples, and vanished worlds. Thus, together <em>Blood Meridian</em> and the Border Trilogy form a “Border Tetralogy” in which McCarthy charts a dialectic move from transcendence to immanence and from subjection to hierarchies of violence to fragile, conjunctive forms of kinship. Since historicist approaches to McCarthy’s Westerns often read them as imaginative critiques of Manifest Destiny and colonialism, this metaphysical exploration of the “Border Tetralogy” can serve as an inquiry into the conceptual underpinnings that make historiography and nationalist mythologies possible. Moreover, a Deleuzian reversal of Holden’s inverted Platonism can open <em>Blood Meridian</em> to readings that avoid deterministic nihilism, creating space for a more affirmative metaphysical and moral vision of the novel and of McCarthy’s work in general.</p>","abstract_has_math":false,"creators":["Reeves, Seth"],"institution":null,"degree_name":"Master of Arts - English","degree_level":"Thesis","degree_discipline":"English","degree_department":null,"school":null,"contributors":["Dr. Michael Martin","Dr. Kevin West","Dr. Steven Marsden"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2025,"date_issued":"2025-12-01T08:00:00Z","date_published":"2025-12-01T08:00:00Z","updated_at":"2026-07-24T04:30:49Z","subjects":["McCarthy","Postmodernism","Deleuze","American Literature","Western Genre","Metaphysics","Continental Philosophy","Literature in English, North America","Modern Literature"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholarworks.sfasu.edu/etds/613","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Dr. Michael Martin","Dr. Kevin West","Dr. Steven Marsden"]},{"key":"dc:creator","label":"Author","values":["Reeves, Seth"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2025-11-11T08:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts - English"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["McCarthy","Postmodernism","Deleuze","American Literature","Western Genre","Metaphysics","Continental Philosophy","Literature in English, North America","Modern Literature"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarworks.sfasu.edu/etds/613"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis applies the metaphysics of philosopher Gilles Deleuze to Cormac McCarthy’s novel Blood Meridian, arguing that the novel initiates a thread of immanent subjectivity that unfolds throughout the Border Trilogy that follows it. Against a hierarchical metaphysics of transcendence, specifically an inverted Platonic Idealism, Blood Meridian dramatizes an immanent world of “optical democracy,” a prose style that levels the human and nonhuman and eludes subject and object categories. The kid’s autonomy from Judge Holden’s violent domination marks the truncated beginning of a Deleuzian subjectivity of becoming-other and immanent kinship. This incomplete gesture continues in the Border Trilogy, where its protagonists enact a more sustained subjectivity of identification with animals, forgotten peoples, and vanished worlds. Thus, together Blood Meridian and the Border Trilogy form a “Border Tetralogy” in which McCarthy charts a dialectic move from transcendence to immanence and from subjection to hierarchies of violence to fragile, conjunctive forms of kinship. Since historicist approaches to McCarthy’s Westerns often read them as imaginative critiques of Manifest Destiny and colonialism, this metaphysical exploration of the “Border Tetralogy” can serve as an inquiry into the conceptual underpinnings that make historiography and nationalist mythologies possible. Moreover, a Deleuzian reversal of Holden’s inverted Platonism can open Blood Meridian to readings that avoid deterministic nihilism, creating space for a more affirmative metaphysical and moral vision of the novel and of McCarthy’s work in general.
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