Although Dick and Perry were equally involved in the murders, Capote portrays opposing tones to provide different perspectives of the criminals; therefore, one’s opinion can become easily impressionable. At first, Dick sees Perry to be innocent and “little,” but this quickly changes as Dick gets to know him better. Dick explains his relationship with Perry to be that, “He had liked him but not considered him especially worth until, one day, Perry described a murder…” then, a few sentences later Perry described that, “he had killed a colored man in Las Vegas - beaten him to death with a bicycle chain” (Page 54). By Dick recalling this anecdote, it personally changed the viewpoint that he had on Perry, making Perry to become more edgy, having valuable qualities and, “a natural killer” (Page 55). The introduction of the characters Perry and Dick, have almost a sentimental feel to their identity traits because Capote adds additional background information which can be more connective and add empathy to their attribute. …show more content…
Willie-Jay utters to Perry, “You exist in a half-world suspended between two superstructures, one self-expression and the other self-destruction” (Page 43). When juxtaposed, it has an affect on the outlook of Perry, as it his contrasting him to be both self-destructive and have a strong sense of expression. When Willie-Jay expressed these words toward Perry, he set the words close together adding emphasis and importance to create a larger impact. This focal point represents that Perry lives in two separate worlds, and shows the masculine or compassionate side of him along with the contrasting side that Dick sees him to be. Capote uses the quote from Willie-Jay to support the purpose of his book because it shows that Perry is guilty for the crime, which will eventually end his life, referring to
Capote portrays only one of these two seemingly distinct characters (Perry) in a way that the reader feels the need to relate to and even sympathize with him. One can be taken aback by such an attachment to a murderer. This is not surprising as the author uses his compassionate diction to manipulate the reader’s emotions with a use of pathos, the appeal to emotions. At one point Capote goes as far as to write that “Smith’s life had been no bed of roses,” (Capote 245) attempting to have the readers relate to Perry. On the other hand, Capote has Dick say this about himself: “Deal me out, baby, I’m a normal” (Capote 116).
Although the article Dylan Roof’s Past Reveals Trouble at Home and School gives light into Dylan Roof’s life, it does not go into the depth of emotions that Capote uses to show Perry’s troubled past. Capote uses tone to enhance Perry’s emotions in order to make him seem more relatable to the audience despite being a brutal murderer. In the passage on page 131, Capote reveals dark parts of Perry’s childhood through the perspective of Perry himself: “It was not long afterward my mother put me to stay in a Catholic orphanage. The one where the black widows were always at me. Hitting me” (Capote 131).
In Truman Capote’s “In Cold Blood,” Dick and Perry have murdered the Clutter family and are on their way to Mexico. In this passage, Dick makes an astounding statement. In the passage, Dick claims that he’s “a normal” but that is far from the truth. He is a conniving, manipulative son of a bitch who thinks he’s normal in comparison to Perry.
Capotes creates sympathy for Detective Dewey by allowing the reader to think about what it would be like to have family member who is extremely involved in work about the
Everyone is born with the capability to do evil, however, the events and environment in our lives shape our psyche to such an irrefutably extreme extent that they define our character and our conscience, redefining what we see as right and wrong. Perry is very sensitive by nature due to his family’s troubles and his father’s behavior. The pressure that Perry feels to impress Dick, who he makes into a faux father figure, combined with the weight of his past push him to the breaking point which happens to be the Clutter murders. Perry was bound by his experience, he could never fully escape the horrors of his childhood as they were the limits of his apprehension. Regardless of Perry’s traumatic childhood, justice must be equally upheld to everyone, despite the differences in the ways we were raised.
Throughout In Cold Blood, Truman Capote hints at his own opinion of the death penalty, yet lets the readers decide for themselves what they believe Hickock and Smith's punishment should have been. When the murderers are being hanged, a conversation occurs between a reporter and an investigator about what it might feel like to be hanged: "'They don't feel nothing. Drop, snap, and that's it. They don't feel nothing.' ' Are you sure?
In doing so Capote invents a new genre of literature by telling the story through a new perspective. Capote as a writer chooses to put most of the focus of the book on the criminals, Dick Hickock and Perry Smith, particularly Smith. He follows Smith’s life story, and explains that Smith was abused as a child, and the reader is to infer that as a result he seeks approval from others. This approval is what leads him to kill, and invent stories about killing, as he wants Dick to think of him as macho. Capote provides a plethora of evidence to support this reasoning, “He was seven years old, a hated, hating half-breed child living in a California orphanage run by nuns- shrouded disciplinarians who whipped him for wetting his bed,” (93).
Perry’s erratic spontaneous outbursts is what caused him to go through with the murders and slit Mr. Clutter’s throat which put him on the killing frenzy that ended the rest of the Clutters lives. Capote highlights Perry’s sociopathic tendencies by comparing them to that of Dicks Psychopathic tendencies which exemplifies how when put together they are at each others fault for the
Although Perry is responsible for the murder of four innocent people, Perry’s actions do not reflect on who he is as a person because he is easily influenced, therefore; showing how easily people can be pressured into doing something they would not typically do. Dick, a violent, cold-hearted, manipulator, has molded Perry into the person he is today. As Perry is a follower, Dick has taken advantage of that by turning Perry into the cold-blooded killer he is today. Capote displays Dick’s manipulation of Perry through symbolism to make evident that while Perry did pull the trigger on four innocent people, although the fault does not entirely lay on him, as he was taken advantage of by Dick.
While Dick’s attempt to profit from Perry originates from a lie that Perry creates in order to gain Dick’s respect, the language that Capote uses to illustrate Dick’s exploitation does not leave room for excuses or sympathy. The tone indicates Dick has malicious intention in befriending Perry, which gives the readers a cynical impression of him. Furthermore, Dick is seen to be disregarding of the gravity of his crimes, especially as he replies to Perry’s comment, “I think there must be something wrong with us" (Capote 114) to commit the murder like they did, in which Dick replies, “Deal me out, baby, I'm a normal,” and continues to entertain the thought, “ But Perry—there
In Truman Capote’s In Cold Blood, there is no hero. The protagonist is not a hero, nor the law enforcement. Heroism becomes irrelevant when searching for justice following a tragedy such as the one seen on November 15th, 1959 in Holcomb, Kansas. Complexity, next to justice, is primary to put into account during the aftershocks . Perry Smith is the protagonist in the novel, not only due to author’s bias but also due to his sheer dynamic, a man disconnected from word to action.
Truman Capote uses variety of language devices such as diction, similes and symbolism to vividly develop Perry Smith in his novel In Cold Blood and reveal aspects of the murder. Perry Smith is a sensitive, somewhat frightening and psychologically unstable character, but then again
The novel, In Cold Blood, is an anomaly in the literary paradigm. The author, Truman Capote, designed his novel in a way that made it unique when compared to others. His fundamental purpose was to present the problem of American violence and the fragility of the American Dream and how it can be so easily shattered. In order to portray his purpose, he used many rhetorical devices including syntax, diction, tone, ethos, logos and pathos. These devices allowed Capote’s novel to be different from the spectrum of other non-fiction novels and to support his purpose.
The non-fiction novel ‘In Cold Blood’ interestingly begins as a fiction novel would-with the author setting up the scene of the gruesome quadruple murder about to take place, unbeknownst to the victims. Capote describes the isolated flatlands of rural Kansas, and introduces the victims and their killers as if they were the main characters of a fictional murder mystery. What immediately struck me is how Capote uses literary techniques like the simultaneous narration of the lives of the killers and victims, and the fragmented retelling of the story not specifically in the order of events, which makes the story read more like a work of fiction than of pure journalism. As one gets engrossed in the book, it gets easier to forget that the story is based on truth and is not just a fictional story born in Capote’s head. Capote also demonstrates his mastery over the ‘thriller and suspense’ genre, detailing the Clutter family’s everyday lives, emotions and experiences but with progressively higher levels of anticipation as the pages go by, employing versions of the omnipresent phrase, ‘and that was their last’ for dramatic effect.
[He said] it [didn’t] bother Perry a bit” (Capote 255). Dick is honestly trying to make Perry look very guilty instead of him. Even though Perry killed all four of the Clutters, Capote was still against the death penalty for Perry. Capote was also biased throughout the story because of his “relationship” with Perry. An example of Capote’s bias is when he wrote that “Dewey, a believer in capital punishment, its purported deterrent effects, and its justice, witnessed the hangings” but he could not watch Perry’s hanging.