Critical Essay In Cold Blood Essay On Remember The Titans Prejudice
The access-for-depiction dynamic is at least as prevalent a tendency in journalism as the seduction-and-betrayal routine.
Just ask the generations of White House officials who have made the discreet trek to Georgetown for an audience with Bob Woodward.
Without a word, he passes his wife a manila envelope.
“Her hands were wet; she dried them, sat down at the kitchen table, sipped her coffee [and] opened the envelope.”Even as Marie pulls out mugshots of the killers, her husband has already sent one of his agents, Harold Nye, to Richard Hickock’s last known address.
Malcolm suggests that subjects often feel “impelled by something stronger than reason” to talk to reporters.
But reporters, too, may find that as a relationship with a source develops, their ability to deliver a coldly rational appraisal is compromised by a sense of compassion, or attachment.
When locals were reluctant to speak with Capote, Dewey intervened on the writer’s behalf.The sequence is also, in most of its particulars, fiction. It’s hardly news that “In Cold Blood” was less “immaculately factual” than its author liked to boast.As the revealed last month, a cache of long-lost records from the Kansas Bureau of Investigation depicts a starkly different version of events. Capote’s grandiose pronouncements about how he had invented a new literary form, the “nonfiction novel,” amounted to a reckless dare: the book had scarcely hit the shelves before dispatched a native Kansan, Philip Tompkins, to retrace the author’s reportorial steps.Nor is it always so irrational for a source to coöperate.If you are a public official or a small-town resident and you realize that some writer is preparing a narrative account of events in which you were directly involved, a certain game theory may influence your decision about whether (and how freely) to talk.(He told Plimpton that he selected a crime story because “murder was a theme not likely to darken and yellow with time.”) But what is interesting, given that Capote omitted any mention of himself from the narrative, is the degree to which we remain fascinated not just by “In Cold Blood,” but by the process of its creation.Along with these periodic revelations about Capote’s novelistic license, two films in recent years were based not on the book, but on its making.Nye did not venture to the farmhouse alone, at night, or under false pretenses. Consulting locals whom Capote had interviewed, and records from the trial, Tompkins discovered inaccuracies in the book, and focussed, in particular, on the soulful portrayal of Perry Smith, who appeared to have been more conscious and deliberate in carrying out the murders than Capote made him out to be.Capote didn’t help matters by announcing that he found the presence of a tape recorder or notebook intrusive when conducting interviews, and preferred to rely on his own recollection of what his sources said. Nineteen days had passed since the ghastly murder of four members of the Clutter family, in their house on the high plains of western Kansas, and detectives still had no clue who might have done it.Then, quite suddenly, the Kansas Bureau of Investigation received a tip from a prison inmate who said that the murderer may have been his former cellmate, Richard Hickock—with possible assistance from an accomplice, Perry Smith.