Mix of Journalism and Fiction in Truman Capote's In Cold Blood

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

Capote's extensive characterization is a key element of In Cold Blood. The characters can be divided into three groups: the Clutter family, the two murderers, and the characters who were emotionally attached to the murder. Each killer's psyche is researched by Capote, and each is individualized by his specific psyche.

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.

3. In “In Cold Blood”(1965), a nonfiction novel, Truman Capote accounts for the murder of the Clutter family, residing in Holcomb, Kansas, and the events that followed. The mode of development includes Gothic themes and motifs to make the audience question the roles of the protagonists and the antagonists, “Uh-huh. But you’ll have to kill me first”, said Perry to Dick when he proposed to rape Nancy Clutter; Capote also juxtaposes between different time periods to make the audience question what had really happened in the Clutter household. This work of “new-age journalism” continually asserts that Perry killed the Clutters, although scant evidence is produced. Capote’s target audience is the people who are part of the criminal justice system and psychologists. Capote is trying to prove that all people are inherently benevolent, but when they have had traumatic events occur in their past, they have injured psyches, thus attempting to explain the formerly inexplicable murders.

Capote expresses his idea of nature vs. nurture in Dick Hickock and Perry Smith and whether killers are born or made. With this in mind, he writes, “Dick became convinced that Perry was a rarity, ‘a natural born killer,’— absolutely sane but conscienceless, and capable of dealing with or without motive, the coldest-blooded deathblows” (205). This makes apparent Perry’s instincts to kill and Dick’s desire to manipulate Perry’s instincts to do so. Dick uses Perry as an image of who he wants to be, even though Perry feels shame and embarrassment. Capote inspects their motivations for the killings based on their backgrounds.

We see two heartless, cold blooded killers that slain the innocent family of the Clutters with the intent to leave no witnesses and to rob them of their hard earned money but Capote deceives the reader's emotions throughout the entirety of the book to humanize straight killers and make them likable. We often see a murderer as a psychopath without any emotion but it is hard to label Smith and Hickock one because Capote brings the reader into their lives in a way that we would feel sorry and have pity for them. Capote makes the reader relate to Smith and Hickock by describing their families and showing insight into the killers’ dreams and aspirations so we could perceive them as people and forget that they ended the future of the Clutters. Perry was a lonely child growing up and had a drunkard mother that forced him into foster care where he was abused and bullied

The book In Cold Blood is a nonfiction book about the murder of the Clutter family. Taking place back in the 1959s, Truman Capote writes about the events leading up to the murders, when the murders took place, and the aftermath. He tells the story in such a descriptive manner, that it feels like we were there when it happened. The purpose of writing like that is so we can know everyone’s side of the story, even people you wouldn’t ordinarily think of. He helps us feel like we were there when it happened by effectively and efficiently using the rhetorical strategies. The rhetorical strategies I feel were most important to the story were pathos, logos, and the tone. The way Capote uses these rhetorical strategies and literary devices is

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

Truman Capote's writing techniques are an essential component to the overall effect that his message gives to the readers. The use of rhetorical as well as literary devices work hand in hand to show the reader just exactly what Capote was trying to convey through his words. At first glance, it may be difficult to decipher the message, however once one digs deeper the message becomes much clearer. Capote wants the audience to understand the importance of living life to the fullest because it can change drastically in the matter of minutes. Although he explains very little that directly relates to his true purpose, his subtle use of stylistic devices work in cohesion to express his ideas, thus the importance of living life to the fullest at all times is greatly emphasized.

Throughout the novel, Capote remains absent as an author, but present as a narrator. To remain true to the story and to appear somewhat free from bias, Capote utilizes explicit and implicit examples with ambition to re-create the scene of the murder and paint a picture of the murderers.

Truman Capote was the type of writer who could make a mass killing into a six year project; he used his time for research and preparation. The “literary photographer” never used a tape recorder in his time writing the book, he took everything from memory and from the help of his assistant, Harper Lee. He had a way of writing that was described as literary nonfiction. Capote worked for a year on the notes before he ever wrote a line; he

Capote wrote about real people and those real people have to live with the backlash that Capote’s work brewed up through its years of fame. The Clutters, their friends, the agents, and even the murderers were all real people

part of the movie moved a little slowly, but I think this was necessary to show

In the final months of 1959, the Clutter family was brutally murdered in their Holcomb, Kansas, home. Reports of their murders made national news. One of these headlines captured the attention of Truman Capote who chose to pursue the story further; eventually, after years of research and thousands of pages of notes, he penned In Cold Blood. It was first published in 1966, and it found immediate success. Capote’s original storytelling methods combined with the sensationalism of the crime was instrumental in creating, at the very least, popularizing a new genre: creative nonfiction. Utilizing unique narrative structure and author-tainted character development, Capote weaves a tale that questions the authenticity, the intent, and the meaning of justice.

Widely considered to be one of the most powerful and engaging pieces in the history of modern American literature, Truman Capote’s In Cold Blood tells the true story of the gruesome murder of the Clutter family during the late 1950s. The novel not only recalls the factual events of the case by incorporating real dialogue and documents, but also focuses on the lives of Dick Hickock and Perry Smith, the two men who committed the crime. As the novel progresses, Capote concentrates on the dynamics of the relationship between the killers, contrasting the differences between highly intelligent but ill-tempered Dick, and Perry, who was abused and abandoned as a child. Their divergence in actions and manners are exemplified by Capote’s writing styles