Wednesday, November 4, 2009
While reading Part Two of Capote's In Cold Blood, it seemed as if more sympathy went towards Perry and Dick, rather than the Clutters. Different from part one, we did not learn as much about the Clutter family as it was more focused on the pasts of the two murderers. This allowed the reader to better understand the nature of the two men. Against what might have been popular belief, they were not monsters. Capote illustrated them as two struggling men - and Perry in-particular, a man who had battled trauma in his past. On one occasion, the reader sympathizes with Dick; whom we discover to be a father with a family. Capote writes, "There were those Dick claimed to love: three sons, a mother, a father, a brother-- persons he hadn't dared confide his plans to, to bid goodbye, though he never expected to see them again--not in this life" (106). Dick was not a heartless man, he had people whom he loved and these people, he had never gotten to give a final word to. Not only do we begin to understand Dick better, but it makes us feel sympathy for the situation he is in. Perry's past, one full of instability and sadness, causes the reader to have an extreme amount of empathy towards him. His mother whom he lived with, abusive and incompetent, ended up putting Perry in a Catholic orphanage at a young age. He describes his experience, "The one where the Black Widows were always at me. Hitting me. Because of wetting the bed" (132). Eventually, he was kicked out of the orphanage and put into a children's shelter operated by the Salvation Army. Perry believes this was much worse, as he says, "They hated me, too. For wetting the bed. And for being half Indian... what she used to do, she'd fill a tub with ice cold water, put me in it, and hold me under till I was blue. Nearly drowned" (132). Traumatic situations in the past, especially at a young age, tend to take a large toll physiologically on the child. The reader sympathizes with the fact Perry had an extremely rough time, and it begins to explain his state of mind. He was misunderstood, abused, and mistreated. Happiness was not a feeling he experienced often; instead he was tormented by fear and pain. Because readers learn more about the lifestyles of the "bad guys", they may not be as bad as they thought they were initially. Feelings of anger from the reader are replaced with those of sympathy.
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Katelyn put this really well. Capote uses his storyteller voice to get the reader to develop emotional attachments to both the "good guys" and the "bad guys". I believe that Capote wants the reader to be conflicted about their emotions towards the murderers. As Katelyn proved, this section of the book is really about getting to the "why"s and the motives of the murderers. It is about seeing their human sides, and trying to understand them as emotional human beings rather than heartless murderers. To do this Capote uses his storyteller voice, which allows the reader to see a lot more than an average townsperson would see. This section of the book encourages us to see the murder from a different perspective, and piece it together not from pieces of rope and blood stains but through the emotional history and emotionally charged brains of the murderers. The placement of these details are also important because as if we were citizens of the Clutter's town, we learn the "facts" first. We hear the story, the kindness of the clutters, and the violence of the murder. But now we begin to hear another side, which many of the characters do not get the chance to do. Capote takes us impartial, unknowing people and makes us become emotionally attached to the Clutters. But then he switches gears on us and takes us into a relatively equal emotional history of the murderers. By hearing the "Clutter's side" first, we as readers realize that a bystander is programmed to love the Clutters and hate the murderers, as would seem appropriate. But Capote wants us to recognize this fact and then ultimately allow the reader to challenge themself by delving into the emotions of the other side.
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