In Cold Blood by Truman Capote takes a brave deviation from the mainstream of murder or crime novels in that it takes the perspective of the perpetrators of the crime in question. Dick Hickock and Perry Smith were two particularly perverse individuals who were hung for the murder of the Clutter family. The two lack virtually any relatability to the casual reader, however, Capote manages to evaluate the six weeks following November 14th, 1959 in such an analytical depth that the reader may even begin to sympathize with the duo. The men are portrayed by Capote through a journalistic and impartial description that enhances the reader's understanding of the two by going into trivial details. Dick and Perry are two individuals from conflicting …show more content…
To do what we did.”(114) Capote deepens the divide between the pair by showing Perry’s haunting remorse of his acts and Dick’s utter glee at the proposition of gruesomely ending the lives of innocents for his own gain. Though the two are such contrasting characters it seems that the two would be the types to commit such an act as heinous as murdering a family in their own home for a sum of fifty dollars. A psychiatric evaluation of the two by Dr. Mitchell W. Jones reveals that Dick showed signs of “emotional abnormality” which likely would have been sparked by brain damage inflicted on him from a car accident in his childhood. Prior to the accident Dick was a fantastic student and athlete with potential for a future. Perry, however, was done in by his upbringing and life before the massacre. Dr. Jones said that though Perry had an above average intellect, however, due to a history of neglect, abuse, and trauma Perry had developed a “poorly controlled rag”, and was “easily triggered by any feeling of being tricked, slighted or labeled inferior to others.”. Perry’s personality traits were suiting of a paranoid …show more content…
Every Holcombite had concocted some form of a theory relating as to what could inspire an individual or individuals to commit an act so odious as to murder the Clutters. Overtime Capote reveals the diverging motives of Dick Hickock and Perry Smith. Though in the beginning the two were equally driven by greed and the promise of a safe stocked with cash, their motives gradually began to reach a point of divergence. Dick sought personal riches, he wanted to obtain a hefty amount of capital so he would be capable of becoming financially afloat enough to return to his first wife. Perry originally pursued a similar set of motives, however, it seems as if the Clutters had become a way for Perry to relieve himself from decades of neglect and frustration. While Perry makes his verbal confession to Alvin Dewey he admits his own confusion as to why he carried out the attack, “I didn't have anything against them, and they never did anything wrong to me--the way other people have all my life. Maybe they're just the ones who had to pay for it."(302). . Capote deepens the divide between Dick Hickock and Perry Smith best in Perry’s verbal confession and the retelling of the night of November 14th 1959. It's almost as if Bonnie’s discussion with Perry is a perfect catalyst for how Capote thought of the two. Bonnie expresses how she knew Dick was the one who had the truly sinister intentions,
Although he is branded as the murder, Truman Capote sympathetically describes Perry throughout the novel as a pitiable character. Firstly, Capote begins by referring to Perry’s atrocious childhood as a way to emphasize on the trauma he suffered as a young boy. We learn that Smith’s parents were divorced and thus had to live with his mother, whom was a heavy alcoholic. He was ultimately sent to a Catholic orphanage where we learn Perry suffered due to the beatings he would get from the nuns: “always at him. Hitting him” (page one hundred and thirty two).
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).
However, the two murderers never took the time to find out more about the Clutter family. Once they realized there was no fortune, Dick did not mind. Dick’s motive for remaining inside the Clutter home was he knew there was a young girl living in the house. His motive was to rape the young girl, Nancy. Nonetheless, the other murderer, Perry Smith, had no motive for killing the Clutter family after realizing there was no fortune.
While Perry is mortified that he and Dick could commit such a gruesome crime, Dick couldn’t care less. All Dick is worried about is how odd Perry is. Because of how quick Perry’s mood could change, Dick thought he was “spooky as hell.” Now, Perry wasn’t your average run of the mill man. He still wets the bed, cries in his sleep, and “could slide into a fury ‘quicker than ten drunk Indians’”.
Truman Capote, the author of In Cold Blood, creates sympathy for almost every character the reader comes across. Through the use of manipulating the reader's emotions and connecting them to each character, Capote successfully pulls it off. There are four main groups that Capote chooses to create sympathy for the murder victims, the murderers, the law officials involved, and the ordinary citizens of Holcomb, Kansas. Truman Capote created the most sympathy for two characters, Perry Smith and Detective Dewey. From the beginning of the novel, Capote showcases Perry Smith a likable character.
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.
Normality in Capote’s Text ‘In Cold Blood’ Truman Capote, in his non-fiction journalistic narrative, gives readers the opportunity to reconsider the dichotomy of ‘normal’ and ‘abnormal’. Capote also suggests true normality differs from society’s concept of normality. The concept of normality is challenged throughout the entirety of ‘In Cold Blood’, first in the Clutter family, then in Dick and Perry and in sexuality throughout the text. The Clutters, a seemingly ‘normal’ family who have obtained a wealthy and successful life, are polite and hardworking, community-driven and respected.
In In Cold Blood, the issue over the death penalty is prominent. Did Perry and Dick deserve to die? Should the severity of one’s crime determine one’s fate? Although Truman Capote writes the novel in a straightforward, “from a distance” way, he conveys, through his characters, theme, and plot development, that the death penalty is an issue that should be looked at from all sides and that the legal system itself is the real issue at hand, and that the death penalty is used as a means to suppress the distress and indignation of the citizens surrounding the case, instead of suppressing the victim himself.
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.
He is portrayed as a mastermind in the cold-blooded killing of the Clutters family, a man with little respect for the lives of others, which can be seen through Dick’s expression before the murder of the Clutters when he converses Perry, “We’re gonna go in there and splatter those walls with hair” (Capote 234). This sudden tone shift enables Capote to depict Dick as a cruel and immoral character. Dick’s lack of empathy and concern for other people beside himself allow him to commit crimes without remorse, which is in contrast to Perry’s moral contemplation after each bad actions they committed. Moreover, Dick is represented as the true criminal with evident motives in murdering the Clutters, while Perry is seen as a vulnerable victim who depends on Dick for validation and acceptance, something in which Dick happily provides in order to manipulate Perry, as Capote writes, “Dick became convinced that Perry was that rarity, ‘a natural born killer,’—absolutely sane but conscienceless, and capable of dealing with or without motive, the coldest-blooded deathblows. It was Dick's theory that such a gift could, under his supervision, be profitably exploited” (Capote 205).
Dick did not have any second thoughts about the murder. He had firmly wanted to walk-in and kill the Clutter family despite their innocence. Dick viewed the Clutters’ as an opportunity that was going to make him rich. There was not any
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.
Throughout the book, Perry is genuinely the cold-blooded killer, and the reader 's view him that way. While in interrogation, Dick confessed that “ Perry Smith killed the Clutters... It was Perry” (Capote 230). At this point, the audience doesn’t know if they believe that Perry killed all four or if Perry killed two and Dick killed two. While talking in the interrogation room, Dewey mentioned to Perry that “Hickock [thought of Perry as] a natural born killer.