Essay on How Does the Reader's Understanding of Perry Develop

Capote talks about the lives of both killers previous to the murders in fairly significant detail. In the case of Perry Smith, his parents divorced early in his childhood and neither his mother nor father really wanted him. This produced feelings of abandonment and uselessness early on in Perry and affected the rest of his life. Capote brings up a letter written to the Kansas State Penitentiary about Perry by Perry's father, who was trying to have Perry paroled for a previous crime he had committed. Perry says that "this biography always set racing a series of emotions--self pity in the lead, love and hate evenly at first, the latter ultimately pulling ahead" (130). Perry didn't feel as though his father ever knew him very well, or even wanted to know him. He says, "whole sections of my Dad was ignorant of. Didn't understand an iota of...I had this great natural musical ability. Which Dad didn't recognize. Or care about...I never got any encouragement from him or anybody else" (133). When Perry's father threw him out of the house one evening because his father could no longer afford to have Perry live with him, Perry lost his sense of direction in life. He even says

Truman Capote saw Perry as being superior to others in his uniqueness and, since he is “absent” from the novel, expressed this opinion in Willie-Jay’s character accounts of Perry. After asserting Willie-Jay’s legitimacy, Capote presents the farewell letter that Willie-Jay wrote to Perry. In it, Willie-Jay analyzes Perry in a psychologist-like manner; he writes:

Throughout In Cold Blood Capote goes through the lives of the killers, Dick and Perry. Both convicts released from jail and at first glance seem to have a lot in common, but as the book continues the reader can see that the two characters are in fact very different. To characterize the killers Capote frequently uses flashbacks into their pasts, giving the reader a sense of what their lives were like and why they became who they are. Capote also utilizes detailed descriptions of the men’s appearances, quirks, and habits to characterize the murderers.

Besides using anecdotes and stories from his childhood, Capote also used analogies to invoke a sense of sympathy for Perry, thus further using the means of pathos. In specific, a constant ‘comparison’ or analogy coupled with Perry is typically his ‘childish’ like structure. Short legs, small feet. This analogy is used constantly, including the hanging scene, where it is said Dewey had “open his eyes [and] saw the same childish feet, tilted, dangling”(Capote 341). This comparison is seen often when describing Perry and seems to give the man a childlike presence, making him come across as more innocent and understandable. This connection to Perry takes away from the ‘severity’ of his actions and instead reminds readers of his childhood and how it has affected him all through life. Using pathos to soften the personality of a killer and bring to life his struggles helped Capote to better exemplify the ‘makings’ of a murderer. When creating this book, Capote wanted to analyze how a murder came to be and thus how a murderer came to exist - in particular, Perry. The use of pathos in correlation to one of the main characters helped break down the hostile killer into a damaged, young, sensible young man who simply had a tough go at life. The device allowed for connection and personalization.

Following the emotionally ‘flat’ perspective by Dick, is Perry’s self-pity attitude during his own chapter. Perry knows the annoyance of his voice to Dick, but has no control over his actions. With only having one thought repeated indefinitely, “I think there must be something wrong with us” (capote 30), one would need to vent in some manner. To continue, Perry’s pity persona even has the author himself take pity on him: “Look at his family!” (Capote 30). Capote demands the reader to acknowledge Perry’s grim adolescence and suicidal family: “His mother, an alcoholic, had strangled to death on her own vomit...Fern...jumped out a window...Jimmy...had one day driven his wife to suicide and killed himself the next” (Capote 30). Capote pities Perry and portrays him as human, instead of the monster everyone believes him to be. Capote explains how Perry’s mental state and upcoming is the reason he is mentally unstable. Capote exposes not all criminals are monsters. Referring back to Dick’s passage, Dick claims “Perry could be “such a kid,” always wetting the bed and crying in his sleep” (Capote 29). Perry never matured from his depressing childhood, and he remained a in this state into adulthood. Returning to Perry’s

As a child Perry grew up with a limited education. When he is young and after his parent’s divorce Perry is living with his dad and is going to school. He finishes grade three but after that he never returns. Perry’s father moves from state to state throughout his childhood and prevents Perry from returning to school. Perry’s father wants Perry to stay with him instead of going to school so he can do work and take care of him. As Perry grows older however he understands that his father kept him out of school and Perry becomes extremely angry with him. Smith stated, “That bastard never gave me a chance. He wouldn’t let me go to school…. he didn’t want me to learn anything, only how to tote and carry for him. Dumb. Ignorant. That’s the way he wanted me to be. So that I could never escape him” (Capote 185). However, Perry is an intelligent and talented man with great potential. He has natural music ability, he likes to read and improve his vocabulary, and he also knows how to draw. In spite of this he never received encouragement from his father or anyone else: “Oh, the man I could have been! ... But the time came I begged to go to school. I happen to have a brilliant

Capote describes and effectively develops the character of Perry Smith by giving us a small glimpse into Perry Smith’s childhood. Perry Smith had an anything but ordinary childhood. Perry had a horrible childhood. This was due to the fact that his parents split apart and he was treated awfully in the places that took him in. Perry’s first horrible experience was in an orphanage. “ The one where the Black Widows were always at me. Hitting me. Because of wetting the bed. Which is one reason I have an aversion to nuns.”( Perry Smith, pg. 206). The nuns beat Perry because he would wet the bed. He would wet the bed because of a weak kidney. Perry was also almost killed by a salvation army nurse. The nurse tried to drown him. “A children’s shelter operated by the Salvation Army. They hated me, too. For wetting the bed. And being half-Indian. There was this one nurse, she used to call me ‘nigger’ and say there wasn’t any difference between niggers and Indians. Oh, Jesus, was she an Evil Bastard! Incarnate. What she used to do, she’d fill a tub with ice-cold water, put me in it, and hold me under till I was blue. Nearly drowned.”(Perry Smith, pg. 206). The constant beatings would give just about anyone a bad childhood to begin with; but it could also lead into the anger and mental issues that Perry suffers

The most dominant strategy that Capote utilizes in order to achieve his purpose is pathos, as he plays on our emotions to get us to feel true sympathy for Perry Smith. This is strategy is overall the most effective one because it allows the viewers to perceive Perry differently. Capote mentions Perry’s abusive and neglectful childhood several times throughout the story’s course in order to make the readers feel empathic, and pitiful towards him. In one instance of the novel, Capote makes out Perry as a hero in a way. He sets up a picture of the killers at the beach, and he mentions how uncomfortable Perry is when he sees Dick talking to a young girl. He describes another instance like this when he says, “Hadn’t they almost got in a fight when quite recently he had prevented Dick from raping a terrified girl” (Capote 202). Perry is willing to stand up to his partner when he comes to situations like this. Readers can’t help but view Perry as a hero in his own way as he protects the young girls from Dick’s pedophilic mind. Capote plays on the assumption that everyone hates child predators, which is almost always true. In a way, Capote makes us feel admiration for Perry’s heroic effort in protecting the innocent, as he “prevented Dick” from doing something horrible. As Perry confesses his crime to Dewey and Duntz, he admits, “But I hoped we could do it without violence” (234). This is one of several moments where the readers get a sense of reluctance from Perry to commit the crime. Although Perry did eventually

The reader gets to “know” Perry Smith very well throughout the novel and acquires the sense that Capote feels sympathetic to his situation as compared to that of Hickock. Smith, introduced as much the loner type, is described by the narrator and the character Smith himself (in a letter to a psychiatrist) as growing up in a low socio-economic bracket with a broken family accompanied by a lack of love and stability characterizing his childhood (and continuing on to adulthood in which is the state of which the book...

Capote uses Perry as a sympathetic character; asking the reader if Perry’s life had been easier growing up, would he have committed the murders? A point often overlooked is Capote’s detailed exploration into Perry’s childhood and life

The best novels are the ones that connects with the reader and just toys with their emotions, as if they too were also in the story by using pathos, the most powerful appeal. This holds true with Truman Capote’s, In Cold Blood and his writing appealing to the reader’s emotions in the portrayal of Perry Edward Smith and Richard “Dick” Eugene Hickock, the two murders with an addition of Capote showing a great deal of favoritism to Perry over Dick. Throughout the novel, Capote uses tone and diction to allure the reader into the novel’s world and into every character’s life, just as if we knew their whole backstory.

Aren’t we all a bit crazy at times? In Truman Capote’s rhetorical masterpiece, In Cold Blood, is about a murder that actually occurred in a small town in Kansas. Richard Hickock and Perry Smith, also known as Dick and Perry, are the criminal minds behind the murder. Capote’s work is regarded to as a masterpiece because he uses many rhetorical devices to convey his message. He uses rhetorical devices such as diction, imagery and pathos. Capote’s purpose for writing the book is to show the insights of what goes on in these two’s criminal minds and to humanize Perry.

Perry Smith came from a very dysfunctional family. Growing up Perry was never taught right from wrong. His parents divorced after years of domestic violence, his mother became an alcoholic. Due to the stresses at home he is a cronique run-away. He was “in and out of detention homes many times” (277); an orphanage. The cottage mistress severely beats and humiliates Smith for wetting the bed. During Smith’s teen years two of his sibling’s committed suicide, and the surviving sibling refusing to interact with him. Smith was angry, conflicted, and scarred by years of abuse. Taking the opportunities his adulthood gave him to act out against the world that hurt him.

Truman Capote forms a close relationship with convicted murderer, Perry Smith, and allows his own personal perception of Perry to influence his story. Capote repeatedly puts emphasis on the fact that Perry comes from a troubled background and

Another theme throughout In Cold Blood is the attraction of opposite personalities between Hickock and Smith. The first scene of Perry Smith is with a guitar and a set of road maps. The guitar appears to function as a feminine image and symbol. Part of what attracts Hickock to Smith is that Hickock feels "totally masculine" by this. In one scene, the criminals' automobile is mentioned. One of Perry's possessions is the guitar, and the "instrument that characterizes his companion Dick... a twelve gauge pump-action shotgun." Another instance of Smith's feminism is Hickock's constant addressing of him as "sugar," "honey," and "baby," for example, Perry says "O.K., sugar—whatever you say" (Capote 46) to Dick when discussing the murder. Outside the novel, Truman Capote himself actually falls in love with Perry Smith; only he likes him because he sees a reflection of himself somewhat in Smith.