Connor Mudrick -- All the Pretty Horses Your essay shows some good insights about the ways John Grady Cole grows up over the course of the story. However, I think you are almost trying to do too much by saying both that the novel shows how he has grown up and how he can be viewed as a sort of hero. Here's a dictionary definition of a hero: "a person who is admired or idealized for courage, outstanding achievements, or noble qualities." It's pretty clear that John Grady doesn't see himself that way from some of the things he says at the end of the story. And I don't think you have really shown that he deserves to be thought of that way either. In terms of the writing, I think the paper improves after the first paragraph, but that first paragraph could have used some additional work and rewriting. Here are some sentence-by-sentence comments: John Grady Cole's adventures throughout Texas and Mexico result in substantial maturation. > That passive construction is weak. How about "John Grady Cole matures substantially during his adventures in Texas and Mexico. (Note: "throughout" does not really apply since he's in a specific series of actual places, not everywhere in Texas or Mexico.) As a sixteen-year-old in Texas, John Grady fantasizes about life as a cowboy on the vast Mexican desert. > How do we really know that? Does he describe those fantasies? His experience traveling in Mexico left him wiser, but also tarnishes his preconceived notion that the life of a Mexican cowboy is idyllic. > Mechanical point: The tenses of "left" and "tarnishes" don't agree John Grady can be considered a hero because his quest to live as a cowboy in Mexico stays true to the theme of justice for all. > "Theme of justice for all?" What do you mean by that? And isn't his sense of morality really personal rather than general? Even after going through months of trials in pursuit of Alejandra he returns to Texas alone. John Grady achieved full maturation by understanding that perfection cannot last forever and sometimes the most optimal situations sour. > I'm not sure he would have ever thought of his situation as "perfect" or "optimal." He certainly found what might have been a long-term position on the hacienda doing the thing he loved -- working with the horses. But almost immediately he also falls into the affair with Alejandra and I think they both realize how risky that is. His crossing of the border between childhood and adulthood is exemplified by his moral compass, pursuit of love, and two, distinct crossings of the Rio Grande river. > The word "exemplify" is not quite what you want here. It means to "be a typical example of." You're really talking about the different items of evidence for saying he has matured. And isn't really the contrast between the two river crossings that matters, not just the fact that he crosses the Rio Grand twice? Some more specific comments: 1) I'm not sure John Grady's actions in the Mexican prison really show his moral compass so much as his survival instinct. Does he buy the knife and kill the "cuchillero" in their fight because he thinks he's "doing the right thing" by defying Perez, or is it that he just really wants to stay alive. I think you could actually argue either way, but to make the "sense of justice" argument, you need more evidence than you are giving. 2) "Don Hector has John Grady and his company imprisoned while tending to horses on the Mexican deserts. The imprisonment leads to the death of Blevins and severe injury to Rawlins and John Grady." This quick summary of that part of the plot is not very clear. Who is "the company?" It's really just Rawlins. Blevins has been imprisoned after he got into trouble separately. He and Cole and Rawlins parted ways before Cole and Rawlins arrived at the hacienda. Content: B+ Mechanics: B+