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TRUMAN CAPOTE/ 2011
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 3 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0244 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"I don't care what anybody says about me as long as it isn't true."
- Truman Capote
Truman Capote -
Truman Streckfus Persons (September 30, 1924 – August 25, 1984), known as Truman Capote ( /ˈtruːmən kəˈpoʊtiː/),[1] was an American author, many of whose short stories, novels, plays, and nonfiction are recognized literary classics, including the novella Breakfast at Tiffany's (1958) and the true crime novel In Cold Blood (1966), which he labeled a "nonfiction novel." At least 20 films and television dramas have been produced from Capote novels, stories and screenplays.
Capote rose above a childhood troubled by divorce, a long absence from his mother and multiple migrations. He discovered his calling by the age of 11, and for the rest of his childhood he honed his writing ability. Capote began his professional career writing short stories. The critical success of one story, "Miriam" (1945), attracted the attention of Random House publisher Bennett Cerf, resulting in a contract to write Other Voices, Other Rooms (1948). Capote earned the most fame with In Cold Blood (1966), a journalistic work about the murder of a Kansas farm family in their home, a book Capote spent four years writing, with much help from Harper Lee, who wrote the famous To Kill a Mockingbird.[2] A milestone in popular culture, it was the peak of his career, although it was not his final book. In the 1970s, he maintained his celebrity status by appearing on television talk shows.
Harold Halma photograph:
Other Voices, Other Rooms made The New York Times bestseller list and stayed there for nine weeks, selling more than 26,000 copies. The promotion and controversy surrounding this novel catapulted Capote to fame. A 1947 Harold Halma photograph used to promote the book showed a reclining Capote gazing fiercely into the camera. Gerald Clarke, in Capote: A Biography (1988), wrote, "The famous photograph: Harold Halma's picture on the dustjacket of Other Voices, Other Rooms (1948) caused as much comment and controversy as the prose inside. Truman claimed that the camera had caught him off guard, but in fact he had posed himself and was responsible for both the picture and the publicity." Much of the early attention to Capote centered on different interpretations of this photograph, which was viewed as a suggestive pose by some. According to Clarke, the photo created an "uproar" and gave Capote "not only the literary, but also the public personality he had always wanted." The photo made a huge impression on the 20-year-old Andy Warhol, who often talked about the picture and wrote fan letters to Capote.[17] When Warhol moved to New York in 1949, he made numerous attempts to meet Capote, and Warhol's fascination with the author led to his first New York one-man show, Fifteen Drawings Based on the Writings of Truman Capote at the Hugo Gallery (June 16 – July 3, 1952).[18]
When the picture was reprinted along with reviews in magazines and newspapers, some readers were amused, but others were outraged and offended. The Los Angeles Times reported that Capote looked "as if he were dreamily contemplating some outrage against conventional morality." The novelist Merle Miller issued a complaint about the picture at a publishing forum, and the photo of "Truman Remote" was satirized in the third issue of Mad (making Capote one of the first four celebrities to be spoofed in Mad). The humorist Max Shulman struck an identical pose for the dustjacket photo on his collection, Max Shulman's Large Economy Size (1948). The Broadway stage revue New Faces (and the subsequent film version) featured a skit in which Ronny Graham parodied Capote, deliberately copying his pose in the Halma photo. Random House featured the Halma photo in its "This is Truman Capote" ads, and large blowups were displayed in bookstore windows. Walking on Fifth Avenue, Halma overheard two middle-aged women looking at a Capote blowup in the window of a bookstore. When one woman said, "I'm telling you: he's just young," the other woman responded, "And I'm telling you, if he isn't young, he's dangerous!" Capote delighted in retelling this anecdote.
Breakfast at Tiffany's:
Breakfast at Tiffany's: A Short Novel and Three Stories (1958) brought together the title novella and three shorter tales: "House of Flowers," "A Diamond Guitar" and "A Christmas Memory." The heroine of Breakfast at Tiffany's, Holly Golightly, became one of Capote's best known creations, and the book's prose style prompted Norman Mailer to call Capote "the most perfect writer of my generation."
For Capote, Breakfast at Tiffany's was a turning point, as he explained to Roy Newquist (Counterpoint, 1964):
I think I've had two careers. One was the career of precocity, the young person who published a series of books that were really quite remarkable. I can even read them now and evaluate them favorably, as though they were the work of a stranger... My second career began, I guess it really began with Breakfast at Tiffany's. It involves a different point of view, a different prose style to some degree. Actually, the prose style is an evolvement from one to the other—a pruning and thinning-out to a more subdued, clearer prose. I don't find it as evocative, in many respects, as the other, or even as original, but it is more difficult to do. But I'm nowhere near reaching what I want to do, where I want to go. Presumably this new book is as close as I'm going to get, at least strategically.[citation needed]
In Cold Blood:
The "new book," In Cold Blood: A True Account of a Multiple Murder and Its Consequences (1966), was inspired by a 300-word article that ran on page 39 of The New York Times on November 16, 1959 (reproduced below). The story described the unexplained murder of the Clutter family in rural Holcomb, Kansas.
Wealthy Farmer, 3 of Family Slain
A wealthy wheat farmer, his wife, and their two young children were found shot to death today in their home. They had been killed by shotgun blasts at close range after being bound and gagged. The father, 48-year-old Herbert W. Clutter, was found in the basement with his son, Kenyon, 15. His wife Bonnie, 45, and a daughter, Nancy, 16, were in their beds. There were no signs of a struggle and nothing had been stolen. The telephone lines had been cut. "This is apparently the case of a psychopathic killer," Sheriff Earl Robinson said. Mr. Clutter was founder of The Kansas Wheat Growers Association. In 1954, President Eisenhower appointed him to the Farm Credit Administration, but he never lived in Washington. The board represents the twelve farm credit districts in the country. Mr. Clutter served from December, 1953 until April, 1957. He declined a reappointment. He was also a local member of the Agriculture Department's Price Stabilization Board and was active with the Great Plains Wheat Growers Association. The Clutter farm and ranch cover almost 1,000 acres (4.0 km2)[19] in one of the richest wheat areas. Mr. Clutter, his wife and daughter were clad in pajamas. The boy was wearing blue jeans and a T-shirt. The bodies were discovered by two of Nancy's classmates, Susan Kidwell and Nancy Ewalt. Sheriff Robinson said the last reported communication with Mr. Clutter took place last night about 9:30 PM, when the victim called Gerald Van Vleet, his business partner, who lives near by. Mr. Van Vleet said the conversation had concerned the farm and ranch. Two daughters were away. They are Beverly, a student at the University of Kansas, and Mrs. Donald G. Jarchow of Mount Carroll, Illinois.[20]
Fascinated by this brief news item, Capote traveled with Harper Lee to Holcomb and visited the scene of the massacre. Over the course of the next few years, he became acquainted with everyone involved in the investigation and most of the residents of the small town. Rather than taking notes during interviews, Capote committed conversations to memory and immediately wrote quotes as soon as an interview ended. He claimed his memory retention for verbatim conversations had been tested at "over 90%".[21] Lee lent Capote considerable assistance during his research for In Cold Blood. During the first few months of his investigation, she was able to make inroads into the community by befriending the wives of those Capote wanted to interview. Capote recalled his years in Kansas when he spoke at the 1974 San Francisco International Film Festival:
I spent four years on and off in that part of Western Kansas there during the research for that book and then the film. What was it like? It was very lonely. And difficult. Although I made a lot of friends there. I had to, otherwise I never could have researched the book properly. The reason was I wanted to make an experiment in journalistic writing, and I was looking for a subject that would have sufficient proportions. I’d already done a great deal of narrative journalistic writing in this experimental vein in the 1950s for The New Yorker... But I was looking for something very special that would give me a lot of scope. I had come up with two or three different subjects and each of them for whatever reasons was a dry run after I’d done a lot of work on them. And one day I was gleaning The New York Times, and way on the back page I saw this very small item. And it just said, "Kansas Farmer Slain. Family of Four Is Slain in Kansas." A little item just about like that. And the community was completely nonplussed, and it was this total mystery of how it could have been, and what happened. And I don't know what it was. I think it was that I knew nothing about Kansas or that part of the country or anything. And I thought, "Well, that will be a fresh perspective for me"... And I said, "Well, I’m just going to go out there and just look around and see what this is." And so maybe this is the subject I’ve been looking for. Maybe a crime of this kind is... in a small town. It has no publicity around it and yet had some strange ordinariness about it. So I went out there, and I arrived just two days after the Clutters’ funeral. The whole thing was a complete mystery and was for two and a half months. Nothing happened. I stayed there and kept researching it and researching it and got very friendly with the various authorities and the detectives on the case. But I never knew whether it was going to be interesting or not. You know, I mean anything could have happened. They could have never caught the killers. Or if they had caught the killers... it may have turned out to be something completely uninteresting to me. Or maybe they would never have spoken to me or wanted to cooperate with me. But as it so happened, they did catch them. In January, the case was solved, and then I made very close contact with these two boys and saw them very often over the next four years until they were executed. But I never knew... when I was even halfway through the book, when I had been working on it for a year and a half, I didn't honestly know whether I would go on with it or not, whether it would finally evolve itself into something that would be worth all that effort. Because it was a tremendous effort.[22]
In Cold Blood was published in 1966 by Random House after having been serialized in The New Yorker. The "nonfiction novel," as Capote labeled it, brought him literary acclaim and became an international bestseller.
A feud between Capote and British arts critic Kenneth Tynan erupted in the pages of The Observer after Tynan's review of In Cold Blood implied that Capote wanted an execution so the book would have an effective ending. Tynan wrote:
We are talking, in the long run, about responsibility; the debt that a writer arguably owes to those who provide him—down to the last autobiographical parentheses—with his subject matter and his livelihood... For the first time an influential writer of the front rank has been placed in a position of privileged intimacy with criminals about to die, and—in my view—done less than he might have to save them. The focus narrows sharply down on priorities: does the work come first, or does life? An attempt to help (by supplying new psychiatric testimony) might easily have failed: what one misses is any sign that it was ever contemplated.[23]
Notes:
1. ^ a b Clarke, Gerald. ''Capote: A Biography'', 1988, pp. 4–7. Retrieved March 8, 2010.
2. ^ Allen Barra "Screenings: The Triumph of Capote," American Heritage, June/July 2006.
17. ^ "2. Truman Capote". Warholstars.org. July 3, 1952. Retrieved March 8, 2010.
18. ^ Andy Warhol biography The Andy Warhol Foundation for the Visual Arts
19. ^ 1000 acres is about 400 hectares or 4 km²
20. ^ "''The New York Times'', November 16, 1959". Nytimes.com. Retrieved 2010-03-08.
21. ^ Truman Capote & Jann Wenner, Truman Capote: Conversations ed. M. Thomas Inge (interviewed in 1973, published 1987, Mississippi, University Press of Mississippi), p. 297.
22. ^ "San Francisco Film Festival: Great Moments (1974)". History.sffs.org. May 4, 2006. Retrieved March 8, 2010.
23. ^ George Plimpton (1998). Truman Capote: In Which Various Friends, Enemies, Acquaintences and Detractors Recall His Turbulent Career. Anchor Books. ISBN 9780385491730. Retrieved 3 August 2011.
-http://en.wikipedia.org/wiki/Truman_Capote
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