Entertainment
Cormac McCarthy's underage 'secret muse' tells her story (and reveals the stories she inspired)
Great American novelist Cormac McCarthy was defensively private and didn’t share much about the inspiration behind his books — or about himself. However, the author, who died in 2023, apparently lived out much of his bestseller “All the Pretty Horses” with a woman named Augusta Britt.
She was 16 when she met the then 42-year-old writer in 1976.
Britt, now 64, guarded her identity and her story for nearly five decades, publicly revealing herself as the author’s “single secret muse” in a Vanity Fair profile published this week. Writer Vincenzo Barney argues that many of the Pulitzer Prize winner’s leading men were inspired by Britt, a “five-foot-four badass Finnish American cowgirl … whose reality, McCarthy confessed in his early love letters to her, he had ‘trouble coming to grips with.’”
Britt’s story has “always been there, below the surface, between the lines in the novels’ coy subconscious,” Barney writes. She had a strong presence throughout “The Road” author’s acclaimed “Border Trilogy,” inspired Carla Jean in “No Country for Old Men,” was Alicia in “The Passenger” and a nurse named Wanda in “Suttree.” Horses identical to her breeds appeared in the 2013 film “The Counselor,” in which Penélope Cruz plays a character based on her.
“Cormac always wanted me to tell my story,” Britt said. “He always encouraged me to write a book. He’d say, ‘Someone will do it eventually, and it might as well be you.’ But I just never could bring myself to.”
Barney said he connected with Britt after she left him a pointed comment on his Substack review of McCarthy’s 2022 novel “The Passenger” — a review that McCarthy told her “something good will come of.” Then, she sought out Barney, insisting on speaking only to him rather two other McCarthy biographers vying for her attention.
She invited Barney to Tucson to hear her story, and they spent nine months together. McCarthy, she said, had warned her that she “couldn’t hide forever,” and she readily shared 47 (occasionally erotic) love letters the “Blood Meridian” scribe wrote to her that illuminated their relationship and, in McCarthy’s own words, his “undying devotion.”
Britt said she’d been “so afraid” to tell her story — after all, who would believe her? But he had warned her that one day his archives would open and people would learn about her.
Britt also inspired the slapstick sidekick Harrogate in “Suttree,” which McCarthy was writing when they first met at a Tucson motel swimming pool where she went to safely shower away from her foster home.
She was in foster care in Arizona after she experienced “a traumatically violent” event that destroyed her family and returned to the hotel to ask McCarthy to sign a copy of his 1965 debut novel, “The Orchard Keeper.” McCarthy, she said, wanted to know why she was wearing a holster with a Colt revolver in it. It turns out she had stolen it from the man who ran the foster home. She also had a stuffed kitten named John Grady Cole, the hero’s name in McCarthy’s “The Border Trilogy,” which follows three runaways who have a stolen Colt revolver.
“It was the first time someone cared what I thought, asked me my opinions about things,” she said. “And to have this adult man that actually seemed interested in talking to me, it was intensely soothing. For the first time in my life, I felt just a little spark of hope.”
Growing frustrated with issues in Britt’s personal life, McCarthy tweaked her birth certificate on his typewriter so she could run away with him to Mexico. It worked but left trouble for both of them in its wake.
The optics of their three-decade age gap weren’t ideal for them either. Despite characterizations of premeditated grooming, Britt asserted that she felt safer with him than with any of the many men in her young life at whose hands she had, in Barney’s words, “suffered unspeakable violence.” McCarthy — who was married to the second of his three wives, singer Annie De Lisle, when he met Britt — still worried about statutory rape allegations and the Mann Act in the early days of their relationship.
She said that he was 43 and she was 17 when they first had sex.
“I can’t imagine, after the childhood I had, making love for the first time with anyone but a man, anyone but Cormac. It all felt right. It felt good,” she said. “I loved him. He was my safety. I really feel that if I had not met him, I would have died young. What I had trouble with came later. When he started writing about me.”
She said that McCarthy’s letters, many of which she received before they consummated their relationship, made her uncomfortable at the time because they were so different from how he talked on the phone or in person. But, she insisted, she never felt anything inappropriate about their relationship and was more concerned McCarthy would be misunderstood by the wider public if she came forward.
“One thing I’m scared about is that he’s not around to defend himself,” she said.
About two years into their relationship she learned that he was married. About a year later, she learned that McCarthy had a son who was about her age.
“It just shattered me. What I needed then, so badly, was security and safety and trust. Cormac was my life, my pattern. He was on a pedestal for me. And finding out he lied about those things, they became chinks in the trust.”
Britt left him about three years into their relationship. They continued to keep in touch, talked regularly for years and saw each other when he visited Tucson. When McCarthy sent her the manuscript for “All the Pretty Horses” in the 1980s, she was confused by how much the novel was “full of me, and yet isn’t me.”
“I was surprised it didn’t feel romantic to be written about. I felt kind of violated,” she said. “All these painful experiences regurgitated and rearranged into fiction. … I wondered, Is that all I was to him, a train wreck to write about?”
Britt said she declined two marriage proposals from McCarthy and lamented how nearly all the characters she inspired him to write died. But, she said, after decades she realized he was “killing off the darkness” of what happened to her.
“Those things that happen to you, that young and that awful, you don’t really heal. You just patch yourself up the best you can and move on.”
Entertainment
Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman
Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.
The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.
Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):
Channel 1
3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo
Channel 2
3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus
Sirius XM Music Row Happy Hour
1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo
Sirius XM Y’Allternative
5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber
Movie Reviews
Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows
Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
Entertainment
Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
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