Content Tagged ‘Truman Capote’

Janet Malcolm, ‘Capote’ & ‘Infamous’

May 28, 2011 | 4 Comments

Everyone acknowledges that true stories can never be fully known—too many details lack corroboration, too many witnesses disagree about what really happened.—Jane Smiley, Thirteen Ways of Looking at the Novel   In Cold Blood created a sensation in America in 1966 hard to imagine today. From the start of the 2005 film Capote we see it is a revisionist look at Truman Capote and, to a degree, his blockbuster. Right away, there’s a character tut-tutting about the writer at work. …

[Read More]

Capote’s ‘In Cold Blood’ revisited

May 24, 2011 | 8 Comments

Here’s the evocative, elegiac opening to Truman Capote’s “nonfiction novel” In Cold Blood: The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call “out there.” Some seventy miles east of the Colorado border, the countryside, with its hard blue skies and desert-clear air, has an atmosphere that is rather more Far West than Middle West. The local accent is barbed with a prairie twang, a ranch-hand nasalness, and the men, …

[Read More]

Poetry & journalism

March 23, 2011 | 3 Comments

Archibald MacLeish’s great essay on literature vs. transcription. Any activity becomes creative when the doer cares about doing it right, or better.—John Updike As with David Shields, when Archibald MacLeish talks about “poetry” he means poetry in the larger sense of writing that is literary art vs. writing considered a mere transcription of events. Good journalism was never that, but exemplary works of reportage have always tended to get lumped by the literati—perhaps more so in MacLeish’s day—with garden-variety news …

[Read More]

Rhythm & flow in works of prose

October 6, 2009 | 3 Comments

Varying length, structure of sentences fosters voice & musicality. Clarity is a high virtue, but so is beauty; and increasingly I see that it is from varying length and sentence structure that writers achieve voice, rhythm, emphasis, and musicality. Variation works because we naturally vary our speaking rhythm when we’re emotionally connected to what we’re saying: “He fouled me! That jerk! Coach! You’re always telling us This is just a scrimmage—we’re still on the same team—don’t get carried away. Didn’t  you …

[Read More]