ABRIR 3.2. La adolescencia - Biblioteca de la Universidad ...

Ficción yRealidad en la obra de Truman Capole
had always been my greatest creative quandar>’. 1 wanted to produce a
journalistic novel, something on a large seale that would have the
credibility of fact, the immediacy of film, the depth and freedom of prose,
and the precision of poetry.”
Praise for ‘In Coid Blood’
The result of Mr. Capotes discovery was “In CoId Blood,” which
was almost universalí>’ praised. John Hersey called it “a remarkable book,”
for example, but there were dissenters. Stanley Kauffmann, in The New
Republic, sniped at “In CoId Blood,” saying “this isn’t writing, it’s research
- a sly borrowing from Mr. Capotes witty thumbnail critique, years earlier,
of the rambling books of the late Beat Generation author Jack Kerouac:
“‘[his isn’t writing, it’s typing.”
The critie Kenneth Tynan took Mr. Capote to task for being too
strictly a reporter and not making an effort to have the killers’ lives spared.
Man>’ readers were struck by Mr. Capote’s verbatim quotations of
long, involved conversations and incidents in his book. He explained that
this came from “a talent for mentally recording lengthy conversations, an
ability 1 had worked to achieve while researching “[he Muses Are Heard,’
for 1 devoutly believe that the taking of notes, much less the use of a tape
recorder, creates artifice and distorts or even destroys any naturalness that
might exist between the observer and the observed, the nervous
hummingbird and its would-be captor.” He said his trick was to rush away
from an interview and immmediately write down everything he had been
told.
Mr. Capote was co-author of the movie “Beat the Devil” with John
Huston and wrote the screenplay for a film of Henry James’s “The
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