Truman Capote Non Fiction

Mr. Clutter, from the people that knew him, described him as being much like his character is portrayed, a community leader involved in many organizations; however, the descriptions of Mrs. Clutter are under suspicion. The people that knew Bonnie Clutter say that Capote exaggerated when it came to describing her

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 goes to great efforts to show the admiration which the community held for the Clutter family, one of the elements which made the murders so shocking. Everybody socialized with the Clutter family. For example, Mr. Clutter's friend Mrs. Ashida felt comfortable telling Mr. Clutter her conflict with her husband regarding the Ashida family's possible move, confiding that people like his family are the reason she wishes to stay in Holcomb.

Truman Capote characterizes Holcomb as a innocent and peaceful farm town with a small population of people and a few rundown buildings. As he describes the town of Holcomb he paints a picture that not a lot happens in the town and that the surrounding towns do not pay attention to Holcomb or even know that the small town exists. Capote describes the town as being melancholy, lonesome and unknown he describes the town like this so that when a crime happens in this town it has a greater impact on the people. In order to convey these ideas Capote uses a great deal of imagery and has a good use of diction that is easy to understand so that his ideas come across clear and he is able to paint the picture he wants to paint.

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:

In Truman Capote’s captivating nonfiction, In Cold Blood, Capote ventures through the journey and lives of both the killed and the killers all while analyzing the point in which they crossed paths. From the days before the four Clutters were murdered to the last moments of the two killers’ lives, Capote takes into account each and every aspect that creates the ‘famous’ Clutter Case with an in depth look of just how and why these strange and unforeseeable events occurred. What was originally supposed to only be an article in a newspaper turned into an entire book with Capote analyzing both how and why a murder comes to be through the use of pathos, juxtaposition, and foreshadowing.

Truman Capote includes finite details such as Perry’s middle name, and goes down to even the name of the county that Perry was born and grew up in to appeal to his audience’s logic. By giving more detail to Perry’s past life, the audience is able to better grasp the image of Perry, which humanizes the murderer, and is more likely to create an emotion of sympathy towards the criminal and alter the audience’s view on capital punishment. This information is irrelevant to the plot, however, is very strong in supporting Capote’s argument.

When we hear about a killing on the news, our natural instincts are to immediately antagonize the killers. More likely than not, we hate the killers, and hope they get a vengeful prison sentence. In Truman Capote’s true crime non-fiction book, In Cold Blood, we learn about the murders that took place in Holcomb. The story is about much more than the slaying of a respectful family, its focus is on the killers, Dick Hickock and Perry Smith. One of Capote’s main purposes in the book is to convey the multiple perspectives of a crime in order for the readers to view the killers as more than just the bad guys, and he achieves his purpose primarily through the use of pathos, anecdotes, and his chosen narrative.

He establishes his credibility early in the text through his comprehensive understanding of the Clutter case, as well as his in depth interviews with the friends and families of the Kansan family, easily earning the trust of his readers. Capote describes the lives of the Clutter and the murders in great, utmost detail; thus, creating an artificial connection between the characters and readers. In every act, Capote never fails to illustrate a scene at length. Rather than focusing on just the perspective of the Clutters, Capote goes the extra mile and implements several stances, including the murders and the people of Holcomb. Capote clearly spent years of research and observation on the case, leading people to acknowledge his expertise on the

Capote allows for favoritism to show through his writing, allowing for the readers to feel the same

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

Capote purposefully detaches himself from this section of the story, allowing the only sense of sympathy come from those who personally knew the Clutters. Because Capote is not able to form a personal relationship with any members of the Clutter family, he simply chooses to briefly explain the family’s murder and shift his attention to the murderers instead. The Clutters all-American image could not rescue them from tragedy and instead of portraying the family as victims, Capote focuses on attempting to encourage the audience to remain optimistic on their views regarding the family’s murderers.

Capote begins his novel with a conventional narrative structure choice: describing the setting. He spends several pages familiarizing the reader with the town of Holcomb, Kansas. This move is crucial, especially when contrasted with his unconventional choices for the traditional narrative timeline as the book progresses. As Capote introduces the reader to the Clutter family, with a particular focus on Herb, he sets the groundwork for the conflict. With necessary background information in mind, the reader first confronts the conflict with the words, “...he headed for home and the day’s work, unaware that it would be his last” (13). It is this moment, that the reader experiences the first sense of satisfaction. This is the

In conducting his research for the novel, Capote managed to make friends and sources of the relatives and neighbors of the Clutters and the killers, the lawyers, the police, and Dick Hickock and Perry Smith (33). He did not use a tape recorder or a notebook when speaking with his sources, but relied on his memory to keep the facts straight.

Through his numerous short stories, fiction novels, and even nonfiction novels, Truman Capote has notably been considered one of America’s most prominent literary writers of the twentieth century. The numerous conflicts in which Capote dealt with in the earlier parts of his life led him to procure solace in writing (McMillan). Emerging as a prolific author who was commonly known for his excellent usage of prose, Capote came to publish the notorious nonfiction novel, In Cold Blood, in 1966. During Capote’s era, Southern Gothicism, a literary genre associated with dark and grotesque themes, increasingly prevailed (Bjerre). Capote’s novel became an atypical work in the genre, though, as he transformed a work of literary nonfiction into what seemed as though a “factional” piece-- a true novel in which incorporated fictional elements of Southern Gothicism (“Slouching Toward Popularity). Within the novel, Capote intricately details the Clutter family murder executed by Richard Hickock and Perry Smith. By doing so, he was able to successfully incorporate elements of Southern gothicism within the novel. Through the analysis of the damaged characters within the novel, the criminality involved in the Clutter murder, and the violence of the murder itself, Truman Capote’s In Cold Blood not only fit the Southern Gothic genre, but ultimately came to revolutionize the nonfiction novel, thus proving its deserved standing in the literary canon.