In 1959, Capote’s nonfiction novel entitled, In Cold Blood was written using artistic methods related to fictional writing. In consciously writing in this manner, Capote revealed a controversial shift away from a more objectivity based, journalistic truth, prevalent at the time. By using these methods to portray in particular Perry Smith, Capote has provoked doubts surrounding his commitment to “truth” within the book. Using a narratological analysis of certain significant passages of the book, Capote’s presence and a notable relation he has to Perry is implied and brought to the forefront. In turn, this essay looks through these passages from the perspective of the genre of autobiography. From this viewpoint, how the reader is able to uncover Capote’s “intentions” by identifying with and presenting himself through Perry in the narrative, is discussed. This essay concludes with the claim that due to Capote’s use of these artistic methods, the reader is provided with an autobiographical dimension to the narrative. Consequently, the essay claims that it is because such autobiographical dimensions are described by Linda Anderson (in her book Autobiography) as having an “honest intention which then guarantees the truth of the writing” (3), that Truman Capote’s “true account of a multiple murder and its consequences”, [own emphasis added] should thus be justifiable, and in his way, honestly true.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:vxu-6918 |
| Date | January 2010 |
| Creators | Lewis, Shane |
| Publisher | Linnéuniversitetet, Institutionen för språk och litteratur, SOL |
| Source Sets | DiVA Archive at Upsalla University |
| Language | English |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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