- Audible Audio Edition
- Listening Length: 14 hours and 27 minutes
- Program Type: Audiobook
- Version: Unabridged
- Publisher: Random House Audio
- Audible.com Release Date: January 3, 2006
- Whispersync for Voice: Ready
- Language: English
- ASIN: B000E1ZA3C
- Amazon Best Sellers Rank:
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In Cold Blood Audiobook – Unabridged
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Top customer reviews
I see Capote's book through the lens of contrasts. Good people, kind, thoughtful, full of love, devotion, and generosity, get their heads bashed in because, two, not such good people, find themselves broke and empowered by the vulnerability of their human targets. Capote wants his readers to not just empathize with those who were murdered, but, with the perpetrators, as well. It's up to us readers to decide what significance background plays in
the etiology of mass killers. We are provided important background information on all the characters. The dialogue is more revealing than any particular fact. Who cares if these dialogues are elaborated for the dramatic effect! It's the dialogue between each with the other, that provides true insight into the motives behind the killings. Simple minded or empty of conscience, a lot of both. Getting rich quick just isn't as easy as it sounds. Fantasizing about your talents is sometimes the only way to heal a wounded soul. Did I say "soul"? Substitute gratifications are most likely to contribute to Perry and Dick's pathology. When the substitutes are habitually violent in nature, we often get, senseless, motiveless malignancy. The contrasts are clear for the reader who likes analysis. If, however, you simply want to know what all the fuss is about, read Capote's book.
Many reviews cover the story, the way Capote organized it, etc. No need to repeat that. Someone said the story lacked characterization. Well. The story struck me as precisely the opposite. It strikes me as a clinic in masterful characterization. I won't belabor it. I'll simply offer three brief examples.
1. "You go dear, I'll keep Jolene company until her mother comes for her," Mrs. Clutter said, and then, addressing the child with unconquerable timidity, added, "If Jolene doesn't mind keeping me company." As a girl she had won an elocution prize; maturity, it seemed, had reduced her voice to a single tone, that of apology, and her personality to a series of gestures blurred by the fear that she might give offense, in some way displease.
2. "Because he hates me," said Perry, whose voice was both gentle and prim--a voice that, though soft, manufactured each word exactly, ejected it like a smoke ring issuing from a parson's mouth.
3. "When Homer died, I used up all the fear I had in me, and all the grief, too. If there's somebody loose around here that wants to cut my throat, I wish him luck. What difference does it make? It's all the same in eternity. Just remember: If one bird carried every grain of sand, grain by grain, across the ocean, by the time he got them all on the other side, that would only be the beginning eternity. So blow your nose."
This is one of those rare works where, while the story is riveting, the writing is a Mozart sonata. The melody proper becomes almost irrelevant. The intricacy of the music, the seemingly effortless poetry of the writing itself, elicits wonder and astonishment. Would that Capote were still with us.