In Cold Blood Nonfiction

In his documentary account of the Clutter family murders, Truman Capote challenges the boundaries of nonfiction, creating a nonfiction novel and defining the true crime genre. In opening In Cold Blood, Capote uses contrasting descriptions, frequent alliteration, and distinct syntax to create a setting and establish a pace for the remainder of the piece. The included descriptions of the town vary, but combined, they create a setting for story. Capote contrasts the ordinary with the extraordinary aspects of Holcomb, giving the reader a more comprehensive understanding of the town. He describes Holcomb’s land as “flat”, but in the same breath adds, “the views are awesomely extensive” (3). This pattern is again mimicked with, “Holcomb…can be seen from great distances. Not that there is much to see” (3). Thus, the town is nondescript but real. Portraying Holcomb as fantastically average is demonstrated by the inclusion of a simile, “a white cluster of grain elevators rising as gracefully as Greek temples”. The language utilized and
This is exemplified in his frequent use of alliteration, “haphazard hamlet” and “unnamed, unshaded, unpaved” (3). By using alliteration, Capote alters his pacing, which has a very large impact in a story when the reader knows of the coming murder. Because of this previous knowledge, readers are especially affected by Capote’s choices. With that in mind, his syntax is remarkable, particularly his use of parenthesis. In the midst of describing the setting, Capote interjects with phrases contained in parenthesis, “(pronounce ‘Ar-kan-sas’)” and “(Holcomb…is ‘dry’)” (3-4). The parenthesis allow Capote to interject his own thoughts, while maintaining a barrier between them and the content of the novel. Capote establishes a precedent for the rest of the novel to follow; that the novel is an objective, rather than subjective