508 “freakishly triumphant rather than sympathetically tragic” in the fi lm (191). Th e fi nal chapter examines the many failed attempts to produce a fi lm version of Blood Meridian, whose cinematic potential Peebles affi rms, stressing “how productive it can be to think about Blood Meridian’s engagement with tragedy, spectacle, witnessing, and performance” even though it has yet to be brought to cinematic fruition (206). Th roughout her study Peebles stresses two major points: that McCarthy’s successful creative works— novels, dramas, and screenplays— are structured as tragedies that gesture toward the importance of community in the face of loss, and that McCarthy himself, far from being a hermitic artist, has thrived on collaboration with those in the literary, theater, and fi lm communities throughout his career. In fact, Peebles has written what we might call a stealth biography, evincing a rich portrait of McCarthy’s longstanding engagement with fi lm and his fruitful working relationships with Albert Erskine, Richard Pearce, the Coen Brothers, Tommy Lee Jones, Austin Pendleton, and Ridley Scott, among others. Cormac McCarthy and Performance is an invaluable contribution to the fi elds of Western American literature and fi lm studies, but it will also appeal to afi cionados seeking insight into the artist himself. Nell Sullivan University of Houston– Downtown

中文翻译：

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克林特·伊斯特伍德的电影：批判性视角编辑。马特·瓦纳特和伦纳德·恩格尔

508 电影中的“异常的胜利而不是同情的悲剧”（191）。最后一章审查了制作《血色子午线》电影版的许多失败尝试，皮布尔斯肯定了其电影潜力，并强调“思考《血色子午线》与悲剧、奇观、目击和表演的参与是多么富有成效”尽管它还没有在电影上取得成果（206）。在她的研究粗略过程中，皮布尔斯强调了两个主要观点：麦卡锡成功的创作作品——小说、戏剧和剧本——被构建为悲剧，表明社区在面临损失时的重要性，麦卡锡本人远非隐士艺术家，在他的整个职业生涯中，通过与文学、戏剧和电影界人士的合作而茁壮成长。实际上，皮布尔斯写了一部我们可以称之为隐传传记的作品，展示了麦卡锡长期从事电影工作以及他与阿尔伯特·厄斯金、理查德·皮尔斯、科恩兄弟、汤米·李·琼斯、奥斯汀·彭德尔顿和雷德利·斯科特等富有成效的工作关系的丰富肖像其他。科马克·麦卡锡和表演是对美国西部文学和电影研究领域的宝贵贡献，但它也将吸引寻求深入了解艺术家本人的狂热爱好者。Nell Sullivan 休斯顿大学 - 市中心 科马克·麦卡锡和表演是对美国西部文学和电影研究领域的宝贵贡献，但它也将吸引寻求深入了解艺术家本人的狂热爱好者。Nell Sullivan 休斯顿大学 - 市中心 科马克·麦卡锡和表演是对美国西部文学和电影研究领域的宝贵贡献，但它也将吸引寻求深入了解艺术家本人的狂热爱好者。Nell Sullivan 休斯顿大学 - 市中心