The famous phrase: "the simplest things are usually the hardest to understand", fits well with the book Cormac McCarthy's Road. Indeed, before us, it would seem, is almost a classic travel story, from point A to point B. Between these places we are simultaneously exposed to the world around us, and the author Cormac McCarthy shows the development of the characters, the changes they undergo during the journey along the Road. In the novel The Road, there are only two characters whose names we don't know, and a somewhat impersonal background in which we hear another name, it's possible that we invented it (Eli). Almost absent details of the world of that same street and Cormac McCarthy's open ending with the possibility of a variety of hypotheses, as far as imagination is concerned. And here is a surprising feature of the book Road. Cormac McCarthy did not really give us a thoughtful world, where the author carefully places everything on the shelves, about the causes and consequences, about the characters of the characters, about the surrounding world, to the smallest detail. Instead, he created a field of artistic reality, a kind of ideological model, a structure that we readers fill with our own world of thoughts and fantasies, as much as individuality allows. When the author writes about how father and son find the aftermath of a terrible picnic in which an infant was burned at the stake, it would seem that all readers should be presented with the same picture. But Cormac McCarthy superficially provides a sliver of information, allowing you to understand the events that occurred here, the images of those strangers on the street, the aftermath of what happened, how the location of this sinister dinner went. We read of caches with food, hygiene products and even clothes, which are found by the heroes of the Road after a long journey of deprivation. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay There is a list of a number of benefits here, but no details. The reader himself fills this general image of the bunker with his fantasies or desires. Finally, the Road itself is described as a dead road, without traces of vegetation or living creatures, where everything is covered in ash and signs of an approaching winter. It's hard to imagine how this clouded world could look any better in summer. Two key characters in the novel The Road are referred to as The Man and The Boy. Sometimes Padre (father) and Son (son). Such stinginess of synonyms, as every time author Cormac McCarthy introduces his characters, reflects well the emptiness of the world around them. Where for a long time names or surnames no longer matter, the attributes of a past life, the same one before the post apocalypse. It is enough to know the degree of kinship that unites these two travellers. Throughout The Road's story, they conduct brief conversations with other unnamed characters, but it is through the conversations of these two that the story unfolds. The text does not differ in the depth of thought shown, stylistic sophistication or eloquence. Once again, this format of the book The Road immerses itself even more in the atmosphere of a gloomy world around which long reasoning has remained in the past. Where we don't know who worked or how man lived before everything that happened. His son was born after an unknown catastrophe. He didn't go to school, watch movies or read books. Since his birth, his social circle was limited to family and a few traveling travelers. The simple communication of the heroes in The Road emphasizes that in the world after the end, dotted with ash, there is no room for philosophical sayings. Forthis and many other virtues, Cormac McCarthy's Road has been awarded numerous prestigious awards, including the Pulitzer Prize for a work of art. The concept of the journey from point A to point B requires the characters through whom this path is revealed, through their interaction or inner world. In our case, The Man and The Boy, the Father and the Son are the simplest, but most effective choice of the author of Cormac McCarthy: family ties. To the man who saw the former world in its former glory, the present Path is his son's way of life. He himself coughs up blood and does not help. The man protects the only thing that keeps his life alive: his son. For him, he is a piece of the old life, of the previous world, where there was no ash and cannibalism yet. The boy has never seen that world, but it is its reflection: a father nestled in memories and concepts of what is good and what is evil. Cormac McCarthy does not express thoughts about the meaning of life on the forehead: Father and Son are simply moving forward, symbolizing the very flow of life that simply persists. It simply exists on Earth, without much sense and meaning, except for the presence itself, like the Road. The boy, who is the Son, knows only this gloomy world of refuges and permanent journey. We do not reveal the details of the life that preceded the immediate events of the book Road - as it was lived by the two. How many bunkers or warehouses with supplies they encountered before. How many supermarket trolleys have changed, transferring their few things. How long did they stay in what type of shelter. How many thousands of hours of monotonous laconic dialogues took place between the Father and the Son and how the events reflected on the road were reflected in them. These two representatives of two different generations of the Before and After world go hand in hand, supporting each other. Indeed, the man himself no longer had anything light from the past: everything had transformed into the image of the boy walking next to him. As in the book, and then in the film The Road (2009), readers and viewers are reminded of scenes in which the Man is ready to commit an unthinkable act: shooting his own son. He is ready to do this so that the child does not fall into bandits, is not raped, tortured by hunger and after being eaten by a gang of dirty movers. In this case, the man himself does not care what happens after him. Not just because his life will end so soon, but because he won't become the only component that moves his legs all these years down the road. Although such a terrible decision can be avoided from time to time, these scenes are, perhaps, the apogee of the entire semantic part of the book Road. Interestingly, Cormac McCarthy later admitted that he drew inspiration for his heroes from his relationship with his son, and even fragments of dialogues and their tonality were reflected in the text of the play. As I noted above, Cormac McCarthy in the novel Road did not give the reader too much information about the world around him. He created a pattern upon which we fill the waves with our imagination. This increases the reader's participation in what is happening and, accordingly, confidence in what is written, in the possibility of the existence of such a joyless future world. People feel a certain excitement about the contrast between the blessings that surround us and those dark images painted in post-apocalyptic works. In this sense, the book Road represents one of the darkest and most depressing images of the future for humanity. It seems that there are no colors of any shade here, except black and gray. There are no such descriptions in the text - the world attracts the imagination. And in this sense, the film Road is an almost perfect adaptation to the transfer of atmosphere. Not.