Recalling My Reading Experience of Truman Capote's 'In Cold Blood'

If there's a book that you'd like to spend reading on a long weekend, Truman Capote's 'In Cold Blood' should be among your choices. Its cool matter-of-fact narrative will make you think about those daily dose of crime shows you have on TV & on paper these days. It's got understated reporting of details ('controlled sensationalism', if you may allow it) by including views from the murderers themselves,  thus making you think if they've done something morally right in the process in the court of public opinion. And I'm thinking it's Capote's book that strongly inspired today's writers to tell their crime stories as if they happen every minute of the time, and we all just move on with our lives, despite the horrifying experiences we gain, sooner or later.

In Cold Blood by Truman Capote
My rating: 5 of 5 stars

I read this book many years ago while still in high school (I got curious about the title, i.e., why the 'cold blood' description, which to my mind brought nasty thoughts about warm, icky blood droplets). And this book created an early memorable impact to my efforts to get into writing works and in choosing my reading preferences, and would make me wonder how I could write in a style similar to Capote's (his name, incidentally, means 'raincoat' --if I recall my Spanish now). I would even go researching about and reading on Capote's other works. All these years, I've yet to watch its movie version (I heard about it from other reviewers here).

What continues to catch my interest even after so many years had passed since I read this has been about its being considered a non-fiction work. With this book, there seems to be a thin line that separates fiction from what's considered non-fiction, which got into my thoughts when I read this book with relish. The quality of writing Capote has shown in this book is uniquely his own from start to finish, although it almost reads like a very well-written extended police report (i.e., minutely factual, almost-cold blooded in tone, and as if written by someone who's very literate, well read and very comfortable in dealing with the details of a bloody crime). And the creative process he followed in coming up with this work becomes more intriguing because Capote wrote, too, in other genres using distinctive styles (read his "Music For Chameleons; Other Voices, Other Rooms") you seldom experience in reading other well-known writers.

I had even doubts if Capote added elements that he thought would make the book more elaborately understated in narrating what's usually and expected to be violent and over-the-edge when written works like this are made into movies. Murder is murder from any angle you view it, directly or indirectly, which give your thoughts about violence, dying and blood. Capote must have done (and had fun doing) so many interviews until he was satisfied that he had enough materials with him to write a book. The narration of the murders was not as violent as your initial thoughts were, which was the case with me.

Capote did so well in researching for what details should be included in this book. And with this book, I felt like I was watching any of those mind-boggling crime shows typically found on cable TV nowadays. It's not the strength of the underlying story itself that got me into finishing this book -- it's the elegant, direct but unpretentious (i.e. 'look at me, I'm writing good!') style Capote used to narrate his take on those murders that took place many years ago somewhere in MidWest USA.



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Interested in architecture? You may want to read & study 'Lectures on Architecture'

Lectures on Architecture by Eugene-Emmanuel Viollet-Le-Duc
My rating: 4 of 5 stars

I got this book (and the other volume) from HousingWorks here in NYC; I told myself that if it's being recommended by the eminent Frank Lloyd Wright as the only books worthy of reading (and learning from) about architecture, then I should find the time. And yes, I have to say it was, even if it took me some time to finish reading it (as I would usually read many other books within the same period). I have to say the author's style is rather sonorous---you have to help yourself to stay awake while reading at least 5 pages at a time particularly if you're not an architect. Look at this comment in the context of being with someone like myself who once dreamt of becoming an architect (but changed plans midway).


I love studying structures generally, and I would usually tell myself questions on how people go about constructing, building edifices and having them last lives of most people. They're quick symbols of what is great and awesome in the human spirit---just take a look at the pyramids both in Egypt and in South America. And I remember having been in awe just walking on the terraces that were built by 'uneducated' tribes of pre-Spanish period people in the uplands of Luzon island in the Philippines---and I'd learn about how these ancient people taught themselves how to make terraces that would last for thousands of years.


And with this book, I learned, among so many detailed facts, about how the Greeks are considered the most talented artists in the world, particularly in the field of architecture (encompassing a lot of areas, actually, including drawing, design, logistics, construction, finishing, etc. etc.). Their influence continue to be felt when you see structures that were put up during the Byzantine period, which to most have been not known.


I also learned about how the Romans were among the most grandiose when it comes to architecture --- they built massively well using their armies of colonized people, such that up to these days, professionals refer to their works when they want to construct something really grand and humongous looking. Just study why the Coliseum in Rome make curious onlookers gawk at its details these days after its builders have been gone thousands of years.


The book brought some laughs from me as I read about the author's disdain toward the rather stupid styles of a number of French architects he studied and thought their works are all 'on the surface' works that are meant to impress but not really designed for people to live, do their work and go on with the other activities in their lives.  Many chapters in this book got me into thinking about the florid-ness in design built into old (as well as new) buildings that are actually useless and do not contribute to the integrity of the buildings themselves. All these because their architects foolishly wanted to emulate what's found on the surface and would not study underneath what's conveniently seen by the eyes.


The book got me into thinking about the primacy of architecture among the arts, whereas I'm biased because I love writing and the cinema. Yes, come to think of it, the most excellent, most moving samples of artworks (although they were not meant to be such, except that their designers took pains to recognize what's innately beautiful to human senses --yes, there are, indeed, such things in our lives!) in our midst are those that recognize our common needs and wants that begin from the need to create something beautiful and functional (hopefully, at the same time) in the confines of spaces where we can do what we want and seek for. We experience these emotions when we something as elegantly beautiful as the Chrysler Building in NYC. We see other samples all around us, which we don't even recognize as art works, per se. We just recognize them as great looking. By reading this book, I got my eyes more open about all the other important but generally unappreciated details found in structures in places I've been to.


I'll really have to work hard for now so that I'll get to read, understand and finish the second volume.


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