Wednesday, May 9, 2007
whoa
seriously, i could probably do this post right now, but i'm going to get some sleep on Mr. Wells's advice. this entry should be posted before 5 o'clock tomorrow. sorry for the delay, at least i got the other two up. why must AP exams be next week back to back for me.
Tuesday, May 8, 2007
16-30
Okay, straight to the point. Some of the first dialogue Capote puts into the story is from Dick to Perry on page 15, and the most interesting part of the short dialogue is that Capote has Dick calling Perry ‘Honey’. What exactly is he trying to imply with this term of endearment? Was there in fact more to the relationship of the killers than there seems on the surface, or does Capote say this as a result of his intrigue with Perry? I’ll leave the homosexual tendency deciphering to j.unk, but actually reading this along with the rest of the dialogue between the two will prove to be an interesting aspect of the most fictional part of In Cold Blood.
Yet again we have the parenthesis. This time on page 16, in reference to something Dick said again. It reminds me of the first because it gives information on something that happened between Dick and Perry, but things that really don’t add much to the actual facts on the murder. It seems that perhaps this information may have been gained through interviews because if the murderers had been interviewed, some of the only information they would feel comfortable divulging would be in fact, information that in no way hinted at the murder or motives.
As chapter’s change, we move from the killers to the killed. Much more dialogue is incorporated into these chapters and even so, there is much truth to it. I would have to believe that from actual testimonial, Capote took the main points and mildly elaborated on it in order to make the dialogue more narrative. Another interesting fact is that so far, no dialogue has occurred where only the Clutter’s where present; each time there was someone in the room or another outside person with whom the conversation was held.
There is still more dialogue between Dick and Perry that is clearly fiction because they never testified to this extent. Not only this, but there is more background information Mrs. Clutter and then more dialogue that must be mostly fact. I find it most interesting that even though what Capote is saying is real, you can clearly hear his voice in his diction [“she had not been spoiled but spared, led to suppose that life was a series of agreeable events”]. This along with his literary techniques [“it lingered like a cloud that might rain or might not.”]
Yet again we have the parenthesis. This time on page 16, in reference to something Dick said again. It reminds me of the first because it gives information on something that happened between Dick and Perry, but things that really don’t add much to the actual facts on the murder. It seems that perhaps this information may have been gained through interviews because if the murderers had been interviewed, some of the only information they would feel comfortable divulging would be in fact, information that in no way hinted at the murder or motives.
As chapter’s change, we move from the killers to the killed. Much more dialogue is incorporated into these chapters and even so, there is much truth to it. I would have to believe that from actual testimonial, Capote took the main points and mildly elaborated on it in order to make the dialogue more narrative. Another interesting fact is that so far, no dialogue has occurred where only the Clutter’s where present; each time there was someone in the room or another outside person with whom the conversation was held.
There is still more dialogue between Dick and Perry that is clearly fiction because they never testified to this extent. Not only this, but there is more background information Mrs. Clutter and then more dialogue that must be mostly fact. I find it most interesting that even though what Capote is saying is real, you can clearly hear his voice in his diction [“she had not been spoiled but spared, led to suppose that life was a series of agreeable events”]. This along with his literary techniques [“it lingered like a cloud that might rain or might not.”]
Wednesday, May 2, 2007
CUNNILINGUS; a.k.a. pgs. 1-16
Prior to page 14, all writing was a realistic description of the town of Holcomb and its inhabitants (including the Clutters). However, Capote could have never met the Clutters and so even this description is not a primary source. The first thing I have to learn while reading this is that not everything is real and there truly is no way to fully understand fact from fiction. We can only discern so much as we are given and Capote is in no way a lacking writer. His skill gives his story telling a great fluid feeling that only adds to my task at hand because as any good writer, storyteller, or liar for that matter, knows that the key to believability is a congruous story with no seams that can easily rip apart the fibers of the tale they are telling.
Now to get on with the real assignment; the first notes I made where on page 14 when Capote compared Herb Clutter’s morning eating habits to those of Perry Smith. This comparison serves to connect the killer to the victim with a real detail about the two. One reoccurring stylistic trait of Capote’s that is only serving to confuse me more is his use of parenthesis. His first occurs on page 14 and confuses me because the information within is not startlingly fact nor fiction. He includes very specific detail along with dialogue which makes me believe that although it may be based on research, that is it probably more creative writing than reality. However, I have read up to part II: “Persons Unknown” and Capote continues with the occasional use of parenthesis and it seems that every time I must reevaluate its credibility.
Because I’m nearing the word requirement I’m going to delve into one more aspect and cut the pages covered short, I’m sure I will make up for this because there are many pages with only dialogue to decipher. Character Description. When Capote is describing Smith’s physical demeanor, diction plays a huge part in realizing that although Smith is a murderer, he seems to be intrigued by him. He could have easily said “He had small feet and wore boots and was of short stature.” Instead he decided to elaborate with details and similies to describe Smith’s appearance which help to create a great starting point to help with my separation because I now know that any events with Smith directly involved may be distorted with Capote’s artistic license.
Now to get on with the real assignment; the first notes I made where on page 14 when Capote compared Herb Clutter’s morning eating habits to those of Perry Smith. This comparison serves to connect the killer to the victim with a real detail about the two. One reoccurring stylistic trait of Capote’s that is only serving to confuse me more is his use of parenthesis. His first occurs on page 14 and confuses me because the information within is not startlingly fact nor fiction. He includes very specific detail along with dialogue which makes me believe that although it may be based on research, that is it probably more creative writing than reality. However, I have read up to part II: “Persons Unknown” and Capote continues with the occasional use of parenthesis and it seems that every time I must reevaluate its credibility.
Because I’m nearing the word requirement I’m going to delve into one more aspect and cut the pages covered short, I’m sure I will make up for this because there are many pages with only dialogue to decipher. Character Description. When Capote is describing Smith’s physical demeanor, diction plays a huge part in realizing that although Smith is a murderer, he seems to be intrigued by him. He could have easily said “He had small feet and wore boots and was of short stature.” Instead he decided to elaborate with details and similies to describe Smith’s appearance which help to create a great starting point to help with my separation because I now know that any events with Smith directly involved may be distorted with Capote’s artistic license.
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