Contents: Introduction chapter I american writer of Truman Capote

1.2. First novel, Other voices, Other rooms
One of his short stories, the critical success of Miriam (1945), caught the attention of publisher Bennett Surf, who eventually contracted Random House to write the novel. With an advance of $ 1,500, Capote returned to Monroeville and began Other Voices, Other Rooms, and continued to work on the manuscript in New Orleans, Saratoga Springs, New York, and North Carolina, eventually ending it in Nantucket, Massachusetts. completed. It was published in 1948. Capote described this symbolic tale as a "poetic burst of strongly suppressed emotions." The novel is a semi-autobiographical depiction of Capote’s childhood in Alabama. Decades later, in his book The Walking Dog (1973), he commented:⁶
“Other voices, other rooms ” was an unconscious, utterly intuitive move to try to drive this crazy out, because I didn’t realize that, with a few exceptions and descriptions, it was largely autobiographical. Now that I’ve read it again, I can’t forgive myself for cheating.
The story is about 13-year-old Joel Knox who lost his mother. Joel was sent from New Orleans to live with his father, who abandoned him when he was born. Arriving at the huge ruined palace called Skally Landing in Alabama, Joel meets his rude stepmother, Amy, the perverted transvestite Randolph, and his brave girlfriend, Idabel. She also sees a "strange lady" with a "thick curly" figure watching her from the window upstairs. Despite Joel's questions, the whereabouts of his father remain a mystery. When he is finally allowed to see his father, Joel Randolph is shocked to see him paralyzed, rolling down the stairs after accidentally shooting him. Joel escapes with Idabelle, but suffers from pneumonia and eventually returns to Landing, where Randolph returns him to his health. The last paragraph means that the "strange lady" calling from the window is Randolph in an old Mardi Gras dress. Gerald Clark described the conclusion in Capote: A Biography (1988) as follows:
Finally, as he approaches the strange woman in the window, Joel accepts his fate, being homosexual, always hearing other people’s voices, and living in other rooms. However, acceptance is not surrender; this is freedom. “I am,” he exclaims. "I'm Joelman, we're the same people." So Truman was happy to come to terms with his identity.⁷
“Other Voices, Other Rooms” made the New York Times bestseller list and remained on the list for nine weeks, selling more than 26,000 copies. The openness and controversy surrounding this novel made Kapot famous. A photograph used by Harold Halma in 1947 to promote the book shows Capote lying there staring angrily at the camera. Gerald Clark wrote in " Hood : Biography " ( 1988): caused. " Truman said the camera surprised him, but in fact he introduced himself and was responsible for both the picture and the commercial. Much of the hood’s initial focus has been on different interpretations of this photo, with some seeing it as an inviting pose. According to Clark, the photo caused a “commotion” and gave Capot “not only a literary, but a social figure he always wanted”. The photo made a big impression on 20-year-old Andy Warhol, who often talked about the photo and wrote fan letters to Capote. When Warhol moved to New York in 1949, he made many attempts to meet Capot, and Warhol’s passion for authorship was based on Warhol’s first solo exhibition in New York - the Hugo Gallery (June 16 ) based on Truman Capote’s works. led to fifteen painting exhibitions. ). - July 3, 1952).
When the photo was republished with comments in magazines and newspapers, some students were excited, while others were angry and upset. According to the Los Angeles Times , Capote "seems to be dreaming about breaking the code of ethics." Writer Merle Miller complained about the photo on the publishing forum, and the Truman Remote photo was satirized in the third issue of Mad magazine (making the hood one of the first four celebrities to be forged in the Mad movie ). Humorist Max Shulman adopted a similar pose for his photograph of a dust jacket in his collection Max Max Shulman’s Great Economy Size (1948). The Broadway scene featured a parody of “New Faces” (and the next film version), in which Ronnie parodied the hood by deliberately copying a pose from a photo of Graham Halma . Random House added a picture of Halma to its “This Truman Capote” ad, and magnified images were displayed in bookstore windows. Halma , who was walking along Fifth Avenue, heard two middle-aged women staring at an enlarged picture of the hood in the bookstore window. When one woman replied, "I tell you, he is still young," the other woman said, "But I tell you, if he is not young, he is dangerous!" The hood told this anecdote with delight.⁸
"Fire Harp " for a play of the same name (later a musical in 1971 and a film in 1995), and then a musical work "House of Flowers" (1954). , Who created the song "A Sleepin 'Bee". Capote co -wrote the screenplay for Houston's Defeat the Devil (1953) with John Houston . Traveling around the Soviet Union with Porgy and Bess’s touring performances, he wrote a series of articles for The New Yorker , which was his first non-fiction book , “Moses Can Be Heard” (1956).
wrote an autobiographical essay for his favorite magazine, Holiday Magazine, about his life in Brooklyn Heights in the late 1950s, entitled Brooklyn Heights: Personal Memory (1959). In November 2015, The Little Bookroom released a new coffee table edition of the work, featuring hooded portraits never seen by David Atti , as well as a street photograph taken by Atti along with an essay entitled Brooklyn: Personal Memories . , With photos lost by David Atti . This edition received good reviews in America and abroad and was also a finalist for the 2016 Indie Book Award.
Breakfast at Tiffany: A Novel and a Story of Three Stories (1958) and combines three short stories: House of Flowers, Diamond Guitar, and Christmas Memory. Breakfast at Tiffany’s has become one of Holly Golayt ’s hood’s most famous creations, and the book’s prose style has led Norman Meyler to call the hood “the most mature writer of my generation”.
of Harper’s Bazaar magazine , a few months before it was published in book form by Random House. Harper’s Bazaar publisher Hearst Corporation began to demand changes to the blunt language of the hood because it liked David Atti’s photographs and the design work that Harper’s artistic director Alexei Brodovich had to accompany the text, which he reluctantly did.⁹
But despite his consent, Hurst ordered Harper not to publish the novel anyway. Her language and subject matter continued to be considered "inappropriate" and there were fears that the main advertiser, Tiffany's, would react negatively. ^[33] The Angry Hood resold the novel for the November 1958 issue of Esquire magazine ; in his own words, he told Esquire that he would be interested in doing so if original photos of Atti were included, but to his disappointment, only one full-page photo of Atti was published in the magazine ( the latter was published later). used as a cover). at least one paper edition of the story). The novel was soon published by Random House.
For the hood, breakfast was a turning point at Tiffany’s, as she explained to Roy Newcastle ( Counterpoint , 1964):
I think I had two professions. One of them was the career of an early young man who published a series of really great books. Even now, I can read them and evaluate them as positively as a stranger’s work ... My second career, I think, really started with breakfast at Tiffany’s . This suggests a different perspective, to some extent a different style of prose. Indeed, the style of prose is to move from one style to another - to shorten and thin, to subdue, to become a clearer prose. I don’t find it as exciting or even original in any other way, but it’s harder to do. But I’m far from getting where I want to go, where I want to go. Perhaps this new book is at least as strategically close as I can get.
The new book, In Cold Blood: A Real Account of Multiple Murders and Their Consequences (1965), was inspired by a 300-word article published in The New York Times on November 16, 1959 . The article described the inexplicable killing of the Klutter family in Holcomb, Kansas, and quoted a local sheriff as saying, "It's the work of a psychopathic killer." ^[36] Surprised by this brief message, Capot Harper went with Lee to Holcomb to visit the site of the massacre. Over the next few years, he met all the people involved in the investigation and most of the city and county residents. Instead of taking notes during the interview, Capote memorized the conversations and wrote quotes immediately after the interview. He said his memory was tested "more than 90%" for verbal conversations.
Lee Capote made friends with the wives of those who wanted to be interviewed and entered the community.
Capote recalled his years in Kansas in 1974 when he spoke at the San Francisco International Film Festival:¹⁰
I spent four years in that part of West Kansas working on the book and then on the film. How was it? It was very lonely. And it's hard. I made a lot of friends there though. I had to, otherwise I would never have been able to study the book properly. The reason was that I wanted to experiment with journalistic writing and look for a topic that had enough proportions. I wrote a lot of narrative journalism in this experimental direction for The New Yorker in the 1950s ... But I was looking for something unique that would give me a lot of space. I came up with two or three different things and each of them was tested for some reason after I did a lot of work there. And one day I was flipping through the New York Times and saw a very small article on the last page. And it just said, “A Kansas farmer killed. A family of four died in Kansas. "It's about such an object. And society was completely confused and it was a complete mystery how and what it could be. And I don't know what it is. I think it's it was because I didn’t know anything about Kansas, this part of the country, or anything else. ”“ Well, it’s going to be a new look for me, ”I thought ... And I said, I'm going there, look around, see what's going on. "And maybe that's what I'm looking for. Maybe there's a crime like that ... in a small town. There's no transparency around it, but it's kind of weird. there is a median. So I went there and came two days after Clutters' funeral. It was all a complete mystery and lasted two and a half months. Nothing happened. I stayed there and o I continued to investigate and investigate, and became very friendly with the various bodies and investigators in the case. I never knew if it was boring. You know, I mean anything can happen. They never caught the killers. Or the killers would have been caught ... maybe something that wasn’t at all interesting to me would have come out. Or they never talked to me and didn’t want to cooperate with me. But it so happened that they caught them. The case was settled in January, and I was in very close contact with these two children, and for the next four years I saw them frequently until they were executed. But I didn’t know ... when I got to the middle of the book, when I worked on it for a year and a half, to be honest, I didn’t know if I would continue it or not, it would eventually turn into something ... something worth all the effort. Because it was a huge effort.¹¹
In Cold Blood was published by Random House in 1966 after being published in The New Yorker magazine . Nonfiction, as Capote said, was literary recognition to him and became an international bestseller, but Capote never wrote a novel after that.
After a scandal between Capote and British art critic Kenneth Taynan in the pages of The Observer, Tynan said he wanted to be executed to make the book a great ending. Tynan wrote:
We are, after all, talking about responsibility; the writer owes his subject and his livelihood - to the last autobiographical brackets ... For the first time, a highly influential writer has been placed in a privileged position to have a sincere relationship. with criminals who were close to death, and I think he did as little as he could to save them. The focus shifts sharply to priorities: does work or life come first? Attempts to help (by presenting new psychiatric evidence) can easily fail: the person will miss any instruction they think about.