I'm not sure this is exactly what you mean, but McCarthy's descriptive language in particular is very poetic.

I had a writing workshop with Pam Houston back in 2009. She is a very incisive reader, so I was a little surprised when she reacted to Blood Meridian coming up in discussion with something to the effect of how bleak and devoid of beauty it was (I'm synthesizing a little from ~feeling; my memory isn't this good). Part of our ongoing assignment each week was to share a passage we liked, so I brought it the next week and read this one (it is about 2 pages into chapter 11--but there's a lot of this throughout):

> Their way led now through dwarf oak and ilex and over a stony ground where black trees stood footed in the seams on the slopes. They rode through sunlight and high grass and in the late afternoon they came out upon an escarpment that seemed to rim the known world. Below them in the paling light smoldered the plains of San Agustin stretching away to the northeast, the earth floating off in a long curve silent under looms of smoke from the underground coal deposits burning there a thousand years. The horses picked their way along the rim with care and the riders cast varied glances out upon that ancient and naked land.

> In the days to come they would ride up through a country where the rocks would cook the flesh from your hand and where other than rock nothing was. They rode in a narrow enfilade along a trail strewn with the dry round turds of goats and they rode with their faces averted from the rock wall and the bake-oven air which it rebated, the slant black shapes of the mounted men stenciled across the stone with a definition austere and implacable like shapes capable of violating their covenant with the flesh that authored them and continuing autonomous across the naked rock without reference to sun or man or god.

> They rode down from this country through a deep gorge, clattering over the stones, rifts of cool blue shade. In the dry sand of the arroyo floor old bones and broken shapes of painted pottery and graven on the rocks above them pictographs of horse and cougar and turtle and the mounted Spaniards helmeted and bucklered and contemptuous of stone and silence and time itself. Lodged in faults and crevices a hundred feet above them were nests of straw and jetsam from old high waters and the riders could hear the mutter of thunder in some nameless distance and they kept watch on the narrow shape of sky overhead for any darkness of impending rain, threading the canyon's close pressed flanks, the dry white rocks of the dead river floor round and smooth as arcane eggs.

> That night they camped in the ruins of an older culture deep in the stone mountains, a small valley with a clear run of water and good grass. Dwellings of mud and stone were walled up beneath an overhanging cliff and the valley was traced with the work of old acequias. The loose sand in the valley floor was strewn everywhere with pieces of pottery and blackened bits of wood and it was crossed and recrossed with the tracks of deer and other animals.

She listened with something like awe in her eyes. I wasn't smart enough to pry, then, but I interpreted it as a bit of delight at re-discovering the care McCarthy is paying every little detail here even though he must know, on some level, that we'll all be blinded by baby-trees.