Additional specifications and considerations

Truman Capote was one of the most famous and controversial figures in contemporary American literature. He had a harsh childhood and did poorly in school. However, his amazing ability to write stories in various genres, and his unique style, allowed him success in the New York literary and social world. He was an admitted homosexual, flamboyant, outrageous, and often the toast of the town. Unfortunately, he also suffered from severe bouts of depression, alcoholism, and binge behavior combined with suicidal tendencies. One of Capote's most well-known novels, Breakfast at Tiffany's, was published in 1958, becoming a 1961 movie classic staring Audrey Hepburn and George Peppard. After Breakfast at Tiffany's, Capote continued his writing success with several years of intense, almost maniacal, research surrounding the death of a Kansas family, eventually to appear as in Cold Blood (1966), a pioneering psychological study and one of the first true-crime novels ever published. (Clarke 2005).

Many believe in Cold Blood was Capote's best work. In this book, Capote writes a carefully detailed account of the murder of the Clutter family, the motivations behind a seemingly senseless crime, and the implications the murders had on the community at large. Within the novel, Capote used an almost screenplay-like sense of imagery and detail, while still communicating a heightened sense of drama. No other non-fictional work prior to in Cold Blood, revolved around the sense of intricate detail, social and psychological mores, and the minor chance encounters or activities we each take on a regular basis -- any of which, if they occur in just a slightly different manner, can have dramatic and lasting consequences. Additionally, in Cold Blood tells a story, but in an unbiased manner; no preconceptions or judgements about the crime, the criminals, or the family. Capote wanted in Cold Blood to remain as factual as possible, believing correctly that a professional retelling of the facts of the case was enough an introduction to the horror of the act that embellishment was unnecessary. The true genius of the book is in its factual retelling, the senseless horror and randomness of murder leaves an indelible mark on anyone who reads the novel.

Part 1: The Last to See Them Alive

1. Identify images and allusions suggesting purity and explain how Capote sets up the theme of good vs. evil with these images. (12-13) Images of purity are expressed in the nature of the farm -- milo, grass, wheat; important too were the sheep and cattle, the cats and especially Babe. Fruit trees allude to nature and the natural life, and the area is seen as "almost" and Eden on earth. We do understand that for everything good, there must be an antithesis of that good -- lush deciduous trees coupled with "cactuslike indifference to thirst." Additionally, the wonderful nature of the crops and farm are contrasted with "setbacks occurred -- twice the wheat crop failed," exaggerating the point of the concept of the yin and yang.

2. Bobby Rupp's testimony is a break in the chronological structure. What purpose and effect does that rhetorical choice have? (50-52) Really, this device is a foreshadowing, just as on page 16 of "I'll be seeing you" -- of the drama that breaks the structure, but still brings the reader into more of a back structure. The religious difference (Catholic vs. Protestant) was a huge difference in this part of Kansas (the Bible Belt) where appearances, even for business sake, were vital to the community. Capote always focused on the facts of the story -- and that every word was true. He used Bobby's testimony to the Clutter home as fact; however, the reader takes a pause because of the chronological break, almost thinking Capote might have inserted this narrative as a "see -- I told you so" moment.

Part 2: Persons Unknown

2. What is the effect of the parallel stories of the fictitious murder of the Black man and Dick's habit of running down dogs? (112) in some ways, there is a blurred line in Dick's manner between reality and fantasy; he has little respect for life, human or otherwise, but tells tales in order to buttress his own ego and insecurity. The obvious prejudice that existed at the time; vis a vis comparing a Black man to an animal; and the idea that it does not really matter if one kills, is Capote's way of giving the reader an uncomfortable insight into the minds of the character.

3. Comment on the irony at the end of Part 2. Capote has almost put Perry into the mode of an anti-hero; he develops his character, he massages his lines, he embellishes hid memorabilia, and almost seems to go out of his way to find phrases and tone of sympathy; almost humanizing the killer and deconstructing the victims. Several more times in the book the passages point to Capote's understanding of Perry, including sympathy, as opposed to the reality of Smith's brutal inner nature.

Part 3: Answer

4. What is the function of the description of domestic chaos in the paragraph beginning, "When Dewey got home. . ."? (163) Marie regaled her day to Dewey -- the issues with the cat and the cocker spaniel, their son and his fall from the tree; Dewey's namesake starting a blaze -- and then Dewey flushing. Dewey, of course, knew that the descriptions of the killers were in the envelope and the chaos that happened at home is paralled with the portent of chaos regarding the murders.

5. In the section beginning, "The cider-tart odor. . .," how does Capote use diction and imagery to establish tone? (206) in an almost poetic manner, Capote uses the imagery to create a semblance of smell -- spoiling apples, not yet unpleasant, more of a Fall smell. The diction…. Apples trees, pear trees, peach and cherry….. house white and solid and spacious threads of decay's cobweb…. Gravel rake lay rusting….. each image is one of decay and a move towards interment.

Part 4: The Corner

6. How does the description of the jail at the beginning of Part 4 reflect the development of the theme of good vs. evil? The view from the jail is ironically positive -- Smith can watch people and the town go about their activities; Smith even finds a pet squirrel from one of the trees that brush up against the jail -- yet the inner and outer worlds, much like the inner and outer world of Smith is Capote's reference to Dante's work -- the interior being evil, looking out at the exterior -- which is good. Further irony is noted that the jail is on the 4th floor of the county courthouse, also the home of Wendle Meier, the assistant sheriff, and his wife, Josephine. Josephine finds Perry outwardly "gentle" but Wendle is convinced of the evil nature -- Satan appearing nice on the outside (like the exterior of the town), but evil on the inside (inside the cell).

7. What is the effect of Capote's including psychiatric testimony that was not actually allowed at the trial? (296-302) Several times in the book, Capote leads the reader through a winding road of sympathy for the killers -- almost as if because Capote himself cannot comprehend an act so heinous, he cannot believe the gentle nature of Perry would allow this. So, too, does Capote understand that within everyone there is a hidden side, a side that is dark to the world. The paragraph about Doctor Jones shows that Capote believes that it was not really Perry's fault that he became a killer:

But, had Dr. Jones been permitted to discourse on the cause of his indecision, he would have testified: "Perry Smith shows definite signs of severe mental illness. His childhood, related to me and verified by portions of the prison records, was marked by brutality and lack of concern on the part of both parents (296-7).