⌛ Character Analysis Of Willie-Jay In In Cold Blood

Tuesday, October 12, 2021 7:09:43 PM

Character Analysis Of Willie-Jay In In Cold Blood

Bell, entirely unaware of his guests' intentions, which included throttling him with a belt and leaving him, robbed of his car, his money, and his life, concealed in a prairie grave, was glad to have company, somebody to talk to Pros And Cons Of Sleepaway Camps keep him awake until he arrived at Omaha. In the first chapter involving the murderers, Capote explains why Dick and Perry are in Kansas. It was a rambling letter, often Character Analysis Of Willie-Jay In In Cold Blood personal, often Character Analysis Of Willie-Jay In In Cold Blood forth his various philosophies. As a result, he simultaneously researched and wrote the story Character Analysis Of Willie-Jay In In Cold Blood now know Character Analysis Of Willie-Jay In In Cold Blood In Cold Blood. He only kissed me on the Character Analysis Of Willie-Jay In In Cold Blood, and said, "Adios, amigo. Although she is describing Character Analysis Of Willie-Jay In In Cold Blood minor character, the level of detail is once again applauded. No, I certainly don't think this particular Character Analysis Of Willie-Jay In In Cold Blood wanted to be caught--though this Beethoven Dialectical Journal a common criminal phenomenon. He wasn't trying to flatter Character Analysis Of Willie-Jay In In Cold Blood he tried to change it to serve his purposes legally, to support the Character Analysis Of Willie-Jay In In Cold Blood appeals he was sending Ophelias Foil Characters In Hamlet the courts.

Crash Course #3: In Cold Blood - Fact or Fiction?

So I would say that it didn't have anything to do with changing the readers' opinion about anything, nor did I have any moral reasons worthy of calling them such--it was just that I had a strictly aesthetic theory about creating a book which could result in a work of art. An incredible situation where I kill four people, and you're going to produce a work of art. It was a pretty ironic situation. I have done it, but I don't believe in it. It's a mistake because it's almost impossible to write about anybody objectively and have that person really like it. People simply do not like to see themselves put down on paper.

They're like somebody who goes to see his portrait in a gallery. He doesn't like it unless it's overwhelmingly flattering--I mean the ordinary person, not someone with genuine creative perception. Showing the thing in progress usually frightens the person and there's nothing to be gained by it. I showed various sections to five people in the book, and without exception each of them found something that he desperately wanted to change. Of the whole bunch, I changed my text for one of them because, although it was a silly thing, the person genuinely believed his entire life was going to be ruined if I didn't make the change. They saw some sections of it. Perry wanted terribly much to see the book.

I had to let him see it because it just would have been too unkind not to. Each only saw the manuscript in little pieces. Everything mailed to the prison went through the censor. I wasn't about to have my manuscript floating around between those censors--not with those Xerox machines going clickety-clack. So when I went to the prison to visit I would bring parts, some little thing for Perry to read. Perry's greatest objection was the title. He didn't like it because he said the crime wasn't committed in cold blood. I told him the title had a double meaning. What was the other meaning? Well, that wasn't something I was going to tell him. Dick's reaction to the book was to start switching and changing his story. He wasn't trying to flatter himself; he tried to change it to serve his purposes legally, to support the various appeals he was sending through the courts.

He wanted the book to read as if it was a legal brief for presentation in his behalf before the Supreme Court. But you see I had a perfect control-agent--I could always tell when Dick or Perry wasn't telling the truth. During the first few months or so of interviewing them, they weren't allowed to speak to each other. So I would keep crossing their stories, and what correlated, what checked out identically, was the truth. Dick had an absolutely fantastic memory--one of the greatest memories I have ever come across. The reason I know it's great is that I lived the entire trip the boys went on from the time of the murders up to the moment of their arrest in Las Vegas thousands of miles, what the boys called "the long ride.

Mexico, Acapulco, all of it. In the hotel in Miami Beach I stayed for three days until the manager realized why I was there and asked me to leave, which I was only too glad to do. Well, Dick could give me the names and addresses of any hotel or place along the route where they'd spent maybe just half a night. He told me when I got to Miami to take a taxi to such-and- such a place and get out on the boardwalk and it would be southwest of there, number , and opposite I'd find two umbrellas in the sand which advertised "Tan with Coppertone.

He was the one who remembered the little card in the Mexico City hotel room in the corner of the mirror that reads "Your day ends at 2 p. Perry, on the other hand, was very bad at details of that sort, though he was good at remembering conversations and moods. He was concerned altogether in the overtones of things. He was much better at describing a general sort of mood or atmosphere than Dick who, though very sensitive, was impervious to that sort of thing.

What turned them back to the Clutter house after they'd almost decided to give up on the job? Oh, Dick was always quite frank about that. I mean after it was all over. When they set out for the house that night, Dick was determined, before he ever went that if the girl, Nancy, was there he was going to rape her. It wouldn't have been an act of the moment--he had been thinking about it for weeks. He told me that was one of the main reasons he was so determined to go back after they thought, you know, for a moment, they wouldn't go.

Because he'd been thinking about raping this girl for weeks and weeks. He had no idea what she looked like--after all. Floyd Wells, the man in prison who told them about the Clutters hadn't seen the girl in 10 years: it had to do with the fact that she was 15 or He liked young girls much younger than Nancy Clutter actually. What do you think would have happened if Perry had altered and not begun the killings. Do you think Dick would have done it? There is such a thing as the ability to kill. Perry's particular psychosis had produced this ability. Dick was merely ambitious--he could plan the murder, but not commit it.

They both finally decided that they had thoroughly enjoyed it. Once they started going, it became an immense emotional release. And they thought it was funny. With the criminal mind-- and both boys had criminal minds, believe me--what seems most extreme to us is very often, if it's the most expedient thing to do, the easiest thing for a criminal to do. Perry and Dick both used to say a memorable phrase that it was much easier to kill somebody than it was to cash a bad check. Passing a bad check requires a great deal of artistry and style, whereas just going in and killing somebody requires only that you pull a trigger.

There are some instances of this that aren't in the book. At one point, in Mexico, Perry and Dick had a terrific falling-out, and Perry said he was going to kill Dick. He said that he'd already killed five people--he was lying, adding one more than he should have that was the Negro he kept telling Dick he'd killed years before in Las Vegas and that one more murder wouldn't matter. It was simple enough. He'd look at Dick, as they drove along together, and he'd say to himself, Well, I really ought to kill him, it's a question of expediency.

They had two other murders planned that aren't mentioned in the book. Neither of them came off. One "victim" was a man who ran a restaurant in Mexico City--a Swiss. They had become friendly with him eating in his restaurant and when they were out of money they evolved this whole plan about robbing and murdering him. They went to his apartment in Mexico City and waited for him all night long.

He never showed up. The other "victim" was a man they never even knew--like the Clutters. He was a banker in a small Kansas town. Dick kept telling Perry that sure, they might have failed with the Clutter score, but this Kansas banker job was absolutely for certain. They were going to kidnap him and ask for ransom, though the plan was, as you might imagine, to murder him right away. When they went back to Kansas completely broke, that was the main plot they had in mind.

What saved the banker was the ride the two boys took with Mr. Bell, yet another "victim" who was spared, as you remember, when he slowed down the car to pick up the Negro hitchhiker. Bell offered Dick a job in his meat-packing company. Dick took him up on it and spent two days there on the pickle line--putting pickles in ham sandwiches. I think it was before he and Perry went back on the road again. Do you think Perry and Dick were surprised by what they were doing when they began the killings?

Perry never meant to kill the Clutters at all. He had a brain explosion. I don't think Dick was surprised, although later oh he pretended he was. He knew, even if Perry didn't, that Perry would do it, and he was right. It showed an awfully shrewd instinct on Dick's part. Perry was bothered by it to a certain extent because he'd actually done it. He was always trying to find out in his own mind why he did it. He was amazed he'd done it. Dick, on the other hand, wasn't amazed, didn't want to talk about it, and simply wanted to forget the whole thing: he wanted to get on with life.

None at all. Dick was aggressively heterosexual and had great success. Women liked him. As for Perry, his love for Willie-Jay in the State Prison was profound--and it was reciprocated, but never consummated physically, though there was the opportunity. The relationship between Perry and Dick was quite another matter. What is misleading, perhaps, is that in comparing himself with Dick, Perry used to say how totally "virile" Dick was. But he was referring, I think, to the practical and pragmatic sides of Dick--admiring them because as a dreamer he had none of that toughness himself at all. Perry's sexual interests were practically nil. When Dick went to the whorehouses, Perry sat in the cafes, waiting.

There was only one occasion--that was their first night in Mexico when the two of them went to a bordello run by an "old queen," according to Dick. Ten dollars was the price--which they weren't about to pay, and they said so. Well, the old queen looked at them and said perhaps he could arrange something for less: he disappeared and came out with this female midget about 3 feet 2 inches tall. Dick was disgusted, but Perry was madly excited. That was the only instance. Perry was such a little moralist after all.

How long do you think the two would have stayed together had they not been picked up in Las Vegas? Was the odd bond that kept them together beginning to fray? One senses in the rashness of their acts and plans a subconscious urge to be captured. Dick planned to ditch Perry in Las Vegas, and I think he would have done so. No, I certainly don't think this particular pair wanted to be caught--though this is a common criminal phenomenon. How do you yourself equate the sort of petty punk that Detective Alvin Dewey feels Dick is with the extraordinary violence in him--to "see hair all over the walls"? Dick's was definitely a small-scale criminal mind. These violent phrases were simply a form of bragging meant to impress Perry, who was impressed, for he liked to think of Dick as being "tough.

But himself able to kill. Is it one of the artistic limitations of the nonfiction novel that the writer is placed at the whim of chance? Suppose, in the case of "In Cold Blood," clemency had been granted? Or the two boys had been less interesting? Wouldn't the artistry of the book have suffered? Isn't luck involved? It is true that I was in the peculiar situation of being involved in a slowly developing situation. I never knew until the events were well along whether a book was going to be possible. There was always the choice, after all, of whether to stop or go on. The book could have ended with the trial, with just a coda at the end explaining what had finally happened. If the principals had been uninteresting or completely uncooperative, I could have stopped and looked elsewhere, perhaps not very far.

A nonfiction novel would have been written about any of the other prisoners in Death Row--York and Latham, or especially Lee Andrews. Andrews was the most subtly crazy person you can imagine--I mean there was just one thing wrong with him. He was the most rational, calm, bright young boy you'd ever want to meet. I mean really bright--which is what made him a truly awesome kind of person.

Because his one flaw was, it didn't bother him at all to kill. Which is quite a trait. The people who crossed his path, well, to his way of thinking, the best thing to do with them was just to put them in their graves. The other day someone suggested that the break-up of a marriage would be an interesting topic for a nonfiction novel. I disagreed. First of all, you'd have to find two people who would be willing--who'd sign a release.

Second, their respective views on the subject-matter would be incoherent. And third, any couple who'd subject themselves to the scrutiny demanded would quite likely be a pair of kooks. But it's amazing how many events would work with the theory of the nonfiction novel in mind? They would provide a subject that satisfied the first essential of the nonfiction novel--that there is a timeless quality about the cause and events. That's important.

If it's going to date, it can't be a work of art. The requisite would also be that you would have had to live through the riots, at least part of them, as a witness, so that a depth of perception could be acquired. That event, just three days. It would take years to do. You'd start with the family that instigated the riots without even meaning to. With the nonfiction novel I suppose the temptation to fictionalize events, or a line of dialogue, for example, must at times be overwhelming. With "In Cold Blood" was there any invention of this sort to speak of--I was thinking specifically of the dog you described trotting along the road at the end of the section on Perry and Dick, and then later you introduce the next section on the two with Dick swerving to hit the dog.

Was there actually a dog at that exact point in the narrative, or were you using this habit of Dick's as a fiction device to bridge the two sections? There was a dog, and it was precisely as described. One doesn't spend almost six years on a book, the point of which is factual accuracy, and then give way to minor distortions. People are so suspicious. They ask, "How can you reconstruct the conversation of a dead girl, Nancy Clutter, without fictionalizing? It's a silly question.

Each time Nancy appears in the narrative, there are witnesses to what she is saying and doing--phone calls, conversations, being overheard. When she walks the horse up from the river in the twilight, the hired man is a witness and talked to her then. The last time we see her, in her bedroom, Perry and Dick themselves were the witnesses, and told me what she had said. What is reported of her, even in the narrative form, is as accurate as many hours of questioning, over and over again, can make it. All of it is reconstructed from the evidence of witnesses which is implicit in the title of the first section of the book "The Last to See Them Alive.

After their conviction, you spent years corresponding and visiting with the prisoners. What was the relationship between the two of them? When they were taken to Death Row, they were right next door to each other. But they didn't talk much. Perry was intensely secretive and wouldn't ever talk because he didn't want the other prisoners--York, Latham, and particularly Andrews, whom he despised to hear anything that he had to say. And how do you think the realness effects the story? Monday, October 27, Discussion Leader. Dick and Perry are starting to get a bit reckless now and Dewey is starting to catch on.

Passage Person. I thought that this book was going to drop off after the actual murder scene, but I couldn't be farther from right! The passage I chose this week was one that instantly jumped out at me. It was the passage where Mrs. Johnson Perry's sister talks about the death of her beloved brother Jimmy. It was a little long to copy, but it's the highlighted part. I was profoundly moved by this particular piece of writing, and I thought that it seriously gave some insight into how intense this family of children were. I also thought it was cool that he was in San Diego. I would like to know what your thoughts were as you read this Were your emotions as strong as mine?

And what did you think about it compared to how Mrs. Johnson describes the death of Fern? Tuesday, October 21, The Connector. While enjoying this weeks reading, something kept pooping out at me, tattoos. I noticed it when Perry and Dick were in Mexico and the German man Otto was drawing them, and made sure to add on his representation of Perry's tattoos. I also noticed it when I was reading the rest of the section. Here are some interesting articles about that. Bell, was tired. He longed to stop for a short nap. However, he was only a hundred miles from his destination - Omaha; Nebraska, the headquarters of the large meat packing company for which he worked.

A company rule forbade its salesmen to pick up hitchhikers, but Mr. Bell often disobeyed it, particularly if he was bored and drowsy, so when he saw the two young men standing by the side of the road, he immediately braked his car. Bell break the company rule of no hitchhikers especially when he's drowsy? In any event, Mr. Bell, entirely unaware of his guests' intentions, which included throttling him with a belt and leaving him, robbed of his car, his money, and his life, concealed in a prairie grave, was glad to have company, somebody to talk to and keep him awake until he arrived at Omaha.

Monday, October 20, Discussion Leader. This weeks reading did not disappoint. Whereas most of the previous reading focused on Holcomb and obviously the Clutter family, this weeks treading provided a lot of insight on Perry. Delving deep into his personal life, family, thoughts, values, and issues. It reveled a lot about his childhood and actions to this day. However some of what we read was shocking and brought up a lot of questions. This weeks reading did not disappoint. Whereas most of the previous reading focused on Holcomb and obviously the Clutter family, this weeks treading provided a lot of insight on Perry.

Delving deep into his personal life, family, thoughts, values, and issues. It reveled a lot about his childhood and actions to this day. However some of what we read was shocking and brought up a lot of questions. What impact do you think it has had on him does he really hate them now? Or do you think it still has a hold on him? Do you think he will be the one to close the case? What are your thoughts? Tuesday, October 14, Connector. Nowhere else for them to go. Often times in life, myself included, people choose to do things or go places that they are used to even if there is something better.

To me it seems people either don't want to change their routine or they don't want to go out of their way to try new things. I think it's interesting how everyone in this book besides Perry and Dick are so normal. I wonder if the author purposely portrayed everyone as normal even if they aren't to make Dick and Perry seem more insane. Monday, October 13, Discussion Leader. This week's reading was much more intense than last weeks.

There was a ton of character and plot development, and the story is getting really good! That being said, here are a few questions about what we've just read: 1 Name the disorder. What do you think is wrong with Perry? He seems like there is something really not right with him. Could it be his upbringing, a true disorder, what do you think? Or do you think they were a part of something bigger? Or not involved at all? The writing is conflicting me, and I'm not sure where I am at. This weeks reading contained a lot of vital information and intriguing passages. In this section we came across the meat of the story: the murder of the Clutter family.

Picking a passage was tough, because very little of the reading was fluff, Truman Capote deliberately and carefully wrote the content we came across. However I chose the passage on page 69 "Without a pause in her postmarking activities, Mrs. Clare replied, "the man in the airplane. The one Herb [Mr. Clutter] sued for crashing into his fruit trees. If it wasn't him, maybe it was you. Or somebody across the street. All of the neighbors are rattlesnakes. Up until this point we got a sense of community and comradery, but after the murder this seems to change.

How do you think this is revealing of human nature, in the story and real life? Does it change how you view Holcomb? Monday, October 6, Discussion Leader. Considering the distance between the clutter family and Perry and Dick, how do you think their paths will cross? What's your opinion of the narration of the story? Do you think it's fitting or could it be better? What is the importance of the little details about each character? Do you think they have significance later or is their purpose only to give character depth? This week as I was reading our very first section of In Cold Blood I realized that it might be hard for me to pick just one passage. There were so many different interesting parts of the story, especially how it constantly changes the point of view between the Clutter family and Perry and Dick such 50's names.

Eventually I decided that I thought that the passage that begins on page 42 in the second paragraph that is to long to type out about Perry's relationship with Willie-Jay while they were both in jail. The passage ends with the first paragraph on page I thought that this was a kind of confusing passage, and I wanted to see how you all viewed Perry and Willie-Jay's relationship.

These details about the characters Character Analysis Of Willie-Jay In In Cold Blood create a connection between the characters and the reader. Subscribe to: Posts Atom. Clutter, "the pattern of postnatal depression repeated itself, and Character Analysis Of Willie-Jay In In Cold Blood the birth of her son, the mood Reflective Essay On Writers By Glenn And Loretta Gray misery that descended never altogether lifted; Character Analysis Of Willie-Jay In In Cold Blood lingered like Character Analysis Of Willie-Jay In In Cold Blood cloud that might rain The Beatles Authentic Mod Clothing Research Paper might not" The New Republic. Sunday, October Character Analysis Of Willie-Jay In In Cold Blood, The Connector. Capote skillfully uses this simile to compare Holcomb to a peaceful temple. Character Analysis Of Willie-Jay In In Cold Blood sent them both whatever they wanted.