Critical Essay In Cold Blood

(He told Plimpton that he selected a crime story because “murder was a theme not likely to darken and yellow with time.”) But what is interesting, given that Capote omitted any mention of himself from the narrative, is the degree to which we remain fascinated not just by “In Cold Blood,” but by the process of its creation.

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Nye did not venture to the farmhouse alone, at night, or under false pretenses. Consulting locals whom Capote had interviewed, and records from the trial, Tompkins discovered inaccuracies in the book, and focussed, in particular, on the soulful portrayal of Perry Smith, who appeared to have been more conscious and deliberate in carrying out the murders than Capote made him out to be.

Capote didn’t help matters by announcing that he found the presence of a tape recorder or notebook intrusive when conducting interviews, and preferred to rely on his own recollection of what his sources said.

The sequence is also, in most of its particulars, fiction. It’s hardly news that “In Cold Blood” was less “immaculately factual” than its author liked to boast.

As the revealed last month, a cache of long-lost records from the Kansas Bureau of Investigation depicts a starkly different version of events. Capote’s grandiose pronouncements about how he had invented a new literary form, the “nonfiction novel,” amounted to a reckless dare: the book had scarcely hit the shelves before dispatched a native Kansan, Philip Tompkins, to retrace the author’s reportorial steps.

Bennett Miller’s film “Capote” portrays its title character as a consummate seducer: before Capote can repurpose the narrative tricks of the novel to beguile the unsuspecting reader, he must first get the story, by persuading ornery, suspicious Kansans to open up to him through a kind of velvet sorcery.

Miller delivers a particularly grim vision of Capote: he seduces Perry Smith and then betrays him, lying about the title of his book (which would reveal that he was less sympathetic with the killers than he might have seemed), and refusing to help the men find a new lawyer for their appeals (because only when they were finally executed would Capote have his ending).Malcolm suggests that subjects often feel “impelled by something stronger than reason” to talk to reporters.But reporters, too, may find that as a relationship with a source develops, their ability to deliver a coldly rational appraisal is compromised by a sense of compassion, or attachment.One person who seems to have been aware of this dynamic was Detective Alvin Dewey.We know now that the plainspoken investigator was remarkably forthcoming with Capote.Some of this persistent interest in the backstory of “In Cold Blood” may simply be a product of its greatness: even detractors who would like to see it plucked from the True Crime section and reshelved permanently in Fiction still tend to concede that the book was a major literary achievement.But Capote’s infractions also raise enduring questions about the slippery boundary between truth and fiction in narrative journalism, and the relationships that develop between a reporter and his sources.In this respect, the film recalls another famous murder story that raised vexing questions about journalistic ethics: the slaughter of Colette Mac Donald and her two daughters, in Fort Bragg, North Carolina, in 1970.Suspicion fell on her husband, the surgeon Jeffrey Mac Donald, who claimed that the murders had been committed by a marauding band of hippies. Nineteen days had passed since the ghastly murder of four members of the Clutter family, in their house on the high plains of western Kansas, and detectives still had no clue who might have done it.Then, quite suddenly, the Kansas Bureau of Investigation received a tip from a prison inmate who said that the murderer may have been his former cellmate, Richard Hickock—with possible assistance from an accomplice, Perry Smith.

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