The greatest stories ever told, whether legend, fact, or fiction, all contain an important element, turning points. The tales of King Arthur, the book of Genesis, and Shakespeare's Romeo and Juliet have all stood the test of time due to their turning points, or plot-twists, which aid in progressing their plots and maintain the interest of the audience. Cormac McCarthy's All the Pretty Horses is no exception to this testament, with its abrasive pivots in plot which stem even from the very beginnings of the book with John Grady's grandfather's death, and continue throughout, with the introduction of Alejandra and finally, the conversation with the duena Alfonsa. McCarthy leads up to each of these turning points with a crescendo of plot-thickening details, and when the climax is finally reached, the story begins to move in a new direction.
             From the outset of the novel, McCarthy throws a curve-ball in the plot with the death of John Grady's grandfather. The buildup is almost nonexistent, yet this turning point is perhaps the most integral in forwarding the plot, which at this point is still not clear to the reader. However, we soon find out that John Grady's parents have gotten a divorce and the land that John Grady was raised on has been inherited by his mother, who intends to sell the land. This passing of land from his family symbolizes the beginning John Grady's passage into adulthood. No longer does he have his childhood home, nor does he have the liberty of calling any place "home" at all, so as any adult does, he ventures out to find a home of his own. The passing of the property from his family also symbolizes the passing of the "Old West" and the idea that "not everybody thinks that life on a cattle ranch in west Texas is the second best thing to dyin and goin to heaven" (17). This turning point steers the plot away from the life on the farm and directs ...