The boy’s divine relationship with the father furthers McCarthy’s theme about the man’s religious doubt and the son’s role in maintaining the man’s belief in a higher power. In the beginning of the novel, the father believes “if [the boy] is not the word of God God never spoke.”, and that the “child was his warrant”(5), which proves the child to be the last vessel for religion in the world. Although the man and the boy live in the same appalling circumstances, the boy continues to have the virtue of God shining through him, because he knows only of evil and suffering of the apocalyptic world, but always continues to effortlessly radiate light, and symbolize goodness, acting as “God’s own firedrake.” (31) McCarthy expresses the goodness of the boy through the symbolism of “carrying the fire.” The fire the boy is carrying is a symbol for the final bits of goodness and the final light of Christ. The boy is the “golden chalice” of the ashened world and his innocence and purity makes him “good to house a god,”(75) and righteous enough to revive the remaining shreds of humanity and morality in the last days. Not only does carrying the eternal “flames” keep the spark of godliness alive on earth, it also keeps God alive in the mind of the man. The man unavoidably is reminded of the light of christ, being that they are “each the other’s world entire.” (6) of McCarthy accentuates the boy’s innocence through the multiple encounters the man and the boy have on the road. The man finds the “thief” who “stole everything” and forces the hopeless man to “get away from the cart”, and take “every goddamned stitch” of his clothes off. (259) The roles are swiftly reversed when suddenly the man becomes a clear portrayal of how“bad