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Writing style in Capote's In Cold Blood
Truman capote literary journalism
Writing style in Capote's In Cold Blood
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John Hollowell's, critical analysis of Truman Capote's novel In Cold Blood focuses on the way Capote used journalism and fiction to try and create a new form of writing (82-84).
First, Capote involves his reader. "This immediacy, this spellbinding 'you-are-there' effect, comes less from the sensational facts (which are underplayed) than from the 'fictive' techniques Capote employs" (Hollowell 82). Capote takes historical facts and brings in scenes, dialogue, and point of view to help draw the reader in (Hollowell 82).
Capote also took into consideration which parts of information to use by how dramatic of an appeal they had (Hollowell 82). His talent led him to figure out what would have the most significance and impact to make the story flow for the reader. "The conversations of close friends of the Clutters, of the chief detectives, and even of the killers themselves are powerfully rendered" (Hollowell 82).
In addition, Capote uses dialogue to advance his story and to bring about suspense. His use of point of view helps to manipulate the story line. The way Capote uses an omniscient narrator "promotes 'objectivity' and suggests, at the same time, a complex pattern of cause-and-effect relationships surrounding the crime" (Hollowell 83).
The narrator tries to present the facts and stay objective. When he attempts to explain events or adds a fraction of moral to the story, he immediately goes back to using simple narration. Hollowell states that Capote must have realized that through his narration still only one point of view was being presented (83). Even though events could be checked, "any attempt to write a narrative account implies establishing a 'fiction' that best fits the facts as they are known"...
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...k" (84). However, he failed to recognize that previous works by Stendhal, Dreiser, and Dostoevski also used similar techniques in true crime stories.
Overall, In Cold Blood gives an example of events of the sixties, such as meaningless crimes, senseless violence, social dislocations, and failure of the conventional morality (Hollowell 84). "Ultimately, Capote's story of Perry and Dick and the Clutter family transcends the here and now, the merely local and particular that are hallmarks of journalism" (Hollowell 84). Hollowell states there is no way to deny that Capote made an extraordinary attempt at bringing together journalism and literature (84).
Works Cited
Hollowell, John. "Truman Capote's 'Nonfiction Novel.' Fact and Fiction: The New Journalism and the Nonfiction Novel."
Contemporary Literary Criticism 19 (1981): 82-84.
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In Cold Blood, a novel written by Truman Capote and published in 1966, is, though written like fiction, a true account of the murder of the Clutter family of Holcomb, Kansas in 1959. This evocative story illuminates new insights into the minds of criminals, and how society tends to act as a whole, and achieves its purpose by utilizing many of the techniques presented in Thomas C. Foster’s How to Read Literature Like a Professor. In In Cold Blood, Capote uses symbols of escape and American values, and recurring themes of egotism and family to provide a new perspective on crime and illustrate an in-depth look at why people do the things they do.
Capote uses different voices to tell the story, creating an intimacy between the readers and the murders, the readers and the victims, and all the other players in this event—townspeople, investigators, friends of the family. This intimacy lead...
The main purpose of In Cold Blood by Truman Capote is to offer insight into the minds of the murderers of the Clutter family, Dick and Perry. However, asking an audience to be open-minded about men who have committed such heinous crimes is no easy task. Capote instead methodically and rather artfully combines imagery, parallel structure, and perspective in two separate passages found between pages 107-113 to contribute to his characterization of Perry and Dick where the former is deserving of sympathy and the latter, disgust.
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In Truman Capote’s non-fiction novel In Cold Blood, the Clutter family’s murderers, Perry Smith and Dick Hickock, are exposed like never before. The novel allows the reader to experience an intimate understanding of the murderer’s pasts, thoughts, and feelings. It goes into great detail of Smith and Hickock’s pasts which helps to explain the path of life they were walking leading up to the murder’s, as well as the thought’s that were running through their minds after the killings.
Capote's structure in In Cold Blood is a subject that deserves discussion. The book is told from two alternating perspectives, that of the Clutter family who are the victims, and that of the two murderers, Dick Hickock and Perry Smith. The different perspectives allow the reader to relive both sides of the story; Capote presents them without bias. Capote masterfully utilizes the third person omniscient point of view to express the two perspectives. The non-chronological sequencing of some events emphasizes key scenes.
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