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.”
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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