Other Voices, Other Rooms Paperback – International Edition, February 1, 1994

Many, many readers have described Other Voices, Other Rooms as a "coming of age" novel. I began reading with that expectation, and certainly, the presumptive main character, Joel, does indeed, grow and change over the course of less than 200 pages, but I propose to you that the book is really about cousin Randolph. As you read, consider that possibility. Imagine each of the main characters (except Idabel) as having fallen into Randolph's very sticky web. Imagine how the unlikable Amy ended up where she was, and especially imagine Joel's father and wonder how much awareness has. I think that by only considering Joel's point of view and filtering everything through the "coming of age" model for understanding what this book is, a reader might miss that this is a actually a horror story. I say horror not from a judgment of the homosexual elements in this story but all the coercion. I would find it difficult to support all my contentions without using a bunch of spoilers, but just try imaging each character's viewpoint and see what you think.

Other Voices, Other Rooms by Truman Capote

Joel Harrison Knox is a 13 y/o boy who lived in New Orleans, LA. Surrounded by a cast of characters like Mr. Mystery - an artist magician who played in vaudeville houses in New Orleans, Annie Rose Kupperman - another artist, and family - his mother, his aunt and friends. All this comes to an end after Joel's mother dies and his estranged father, Edw. R. Sanford, Esq sends a letter and money requesting Joel to come live at Skully's Landing, somewhere near Noon City. Mr. Sansom has married Amy Skully and the letter says she is also happy to have Joel live with them.

It becomes clear early enough that there is something wrong. When Joel arrives to Noon City, there is no one waiting for him. After catching a ride to Skully's Landing, he is unable to see his father. His step mother, Amy, keeps telling Joel it's not time yet.

Joel has to face life in a house without electricity or plumbing, filled with characters: Miss Amy, and his clever and cousin Randolph, their black "maid" Missouri (Zoo) Fever, and Zoo's ancient grandfather Jesus Fever. Joel's father is in the house too, but not in the form he anticipated. He's an invalid that must be taken care of 24/7. Little Sunshine, a hermit, and two local girls, Twin sisters Florabel and the wild tomboy Idabel Thompkins, round out the players and are Joel's allies in a threatening world of perversity, mental instability, and sexual ambiguity.

The story is filled with ghosts, dreams and a series of comical events; at times it really feels like Capote is putting on a human freak show for the thrill-seeking reader. He leads us through a world of decaying old buildings and broken spirits. But Capote always respects the essential humanity of his troubled characters.

Narrated from the third person universal point of view, the story is told in a beautifully lyric style.

The main theme is sexuality, love, and gender identity. Capote establishes this theme early on in his description of the main character, Joel, who is described as not looking like a "'real' boy": "He was too pretty, too delicate and fair-skinned." Afterwards we find out that cousin Randolph was in love with Pepe Alvarez. "The brain may take the advice. but not the heart, and love, having no geography, knows no boundaries...any love is natural and beautiful that lies within a person's nature; only hypocrites would hold a man responsible for what he loves..." Raymond om pages 118-9.

Time is another theme. Joel states: "Amy, Randolph, his father, they were all outside of time, all circling the present like spirits: was this why they seemed to him like a dream?" And Randolph adds: "Have you never heard what wise men say: all of the future exists in the past."

Loneliness is a another theme. Randolph says to Joel: "But we are alone, darling child, terribly, isolated each from the other." p119

Physical beauty and identity is depicted as a reflection in mirrors: "They can romanticize us so, mirrors, and that is their secret: what a subtle torture it would be to destroy all the mirrors in the world: where then could we look for reassurance of our identities?" Randolph on page 113.

A great read. Capote delivers a novel that will forever live with the reader as a voice in the rooms of the soul. It is an exquisitely sad voice but not one that should ever be silenced.

The novel is about the coming of age of adolescent Joel Harrison Knox, a precocious, timid boy, who after the death of his mother moves to a remote Southern town called Noon City, to live with his father who is supposedly taking him in. Joel arrives at the estate of Skully’s Landing, where the reader meets an array of “grotesque” characters, and in the end, his father. Joel has to confront the fact that his father does not turn out to be the man he thought he was.

I am a big fan of Carson McCullers and it is easy to see that she is one of Capote’s influences. Capote however is able to take up McCullers’ mantle and give it a modern sheen: while McCullers uses her ‘freakish’ characters to explore human loneliness, Capote tackles this motif but adds more sincerity. Joel in the end, despite not finding the father he was searching for, does feel accepted by his new community. On the very last page of the book when Joel discovers that it is actually Cousin Randolph in the window, dressed as the old woman, this realization finalizes his sense of belonging.

This novel is just another reminder of the talent that Truman Capote was, even though this was his first novel, he writes with great command. I recommend this book.