In Cold Blood Paperback – Bargain Price, February 1, 1994

5/5Truman Capote’s In Cold Blood is a true-crime epic that grabs you by the heart and doesn’t let go. This isn’t just a story about a murder; it’s a deep dive into a Kansas town’s soul, with characters so real you feel their joys and fears. Capote’s writing is pure gold, painting Holcomb’s wide-open plains and cozy homes with such vividness I could smell the wheat fields. Every page crackles with detail, from the Clutter family’s warm routines to the killers’ twisted paths, making this 1959 tragedy feel alive and gut-wrenching. For someone who loves big stories and complex characters, this is a home run.The Clutters, the investigators, even the perpetrators—everybody’s fleshed out with care. You’ll ache for the family’s lost dreams and get chills watching the killers wrestle with their own demons. Capote nails the emotional payoff, weaving justice, loss, and quiet hope. One line sums up the story’s haunting grip: “Imagination, of course, can open any door—turn the key and let terror walk right in.” It’s a history lesson and a crime thriller rolled into one. I was skeptical about the hype, but this book earned every bit of praise.In Cold Blood is a masterclass in storytelling—deep, thrilling, and unforgettable. If you’re into history or crime, you will love this story.

I read In Cold Blood after watching the movie Capote. I was very aware of the book for years but for some reason never quite got around to it. I'm glad I finally broke down and read it. I was not surprised to find that Capote had no role in the book, even as an unnamed shadow. The movie led me to believe Capote was a player in Perry Smith's life after he was captured. Nevertheless, the book was very well done.As mentioned in the movie, Capote has created a new writing style here. Previously, these subjects were covered much as extended reporting from journalists. However, this reads like a novel...a very well developed and plotted novel. The only thing that prevents me from giving this 5-stars is the fact that at times Capote tediously develops some side story that adds very little to the story, other than pages. But, mostly, the material moves well.To say the story is chilling is an understatement. It in fact is quite disturbing. The fact that our world is shared with people with the capacity to do what was done to the Clutter family is foundational to why this book disturbs me. And although, I fully understand the argument to abolish the death penalty, I somehow stand convinced that it must exist, if only to place the appropriate weight to the scale of justice. Sometimes you must do what needs to be done simply because it is the right thing to do. These men deserved to be hanged. Their death does nothing to bring back the beautiful lives of their victims, however, they deserved what the got.

When a book like IN COLD BLOOD reaches the level of being a classic, there has to be a reason. Consider the following two excerpts:"The land is flat, and the views are awesomely extensive; horses, herds of cattle, a white cluster of grain elevators rising as gracefully as Greek temples are visible long before a traveler reaches them.""Then, starting home, he walked toward the trees, and under them, leaving behind him the big sky, the whisper of wind voices in the wind-bent wheat." The former excerpt is from Capote's opening paragraph; the latter cointains his closing sentence. Both are extraordinary, especially for their time, in capturing the mood and poetry of a place in the middle of a true-life story of a horrific mass murder.As is certainly well known, IN COLD BLOOD is Truman Capote's magazine-article-turned full-length-docu-novel about the murders of four members of the Clutter family in their Holcomb, Kansas, farmhouse in November 1959. The two killers, Dick Hickock and Perry Smith, were ultimately caught, tried, sentenced, and executed, factual matters that are still commonly known today thanks to two recent movies about Capote's life and his efforts to write the book. Even at its publication, IN COLD BLOOD was not a detective story in the traditional sense, since everyone already knew the perpetrators and the case's eventual disposition.In an era when such incidents were reported either factually (newspaper style) or sensationally (crime magazine style), Truman Capote effectively created an entire new genre: journalism as art form. Writing with a level of descriptive detail about places and events that create a strong sense of immediacy in the reader's mind, he begins his story with a re-creation of the Clutter family's last day of life. The effect is profound and eerie, since these pages are read with a foreknowledge of death not shared by the real-life characters on the page. Capote builds his suspense masterfully, alternating between the movements of Hickock and Smith and those of the Clutters (husband and father Herbert, perennially sick wife and mother Bonnie, intelligent, tinkering son Kenyon, and All-American sweetheart daughter and town darling Nancy.As he brings the two parties closer and closer together, Capote continues to fill in background on their respective lives. By the time his orchestrated characters have reached their mutual, bloody crescendo, the reader is intimately acquainted with them as individuals and their respective life stories. Thus, the author gives us individuals with whom we are intimate as characters in a novel, yet they are real people about whom he is reporting in a senseless, horrifying mass murder story. This is Capote's genius and the source of his book's classic status - factual reporting that reads like a novel, displaying the intimacy with its characters that is normally reserved for the so-called "omniscient author," the one who can hear, share, and express his or her characters' most private thoughts and motivations.Capote's pacing and remarkable eye for detail never relent as the story moves from crime to investigation, arrest, and trial by jury. He maneuvered himself into a situation where he was privy to every detail of the police investigation; it is equally clear he had extended access to Hickock and Smith throughout their ordeal, up to and including their ultimate disposition. While it was doubtless a level of access no longer available to reporters or writers, Capote took maximum advantage of it in crafting his story. What comes out of it, surprisingly, is a tale of two socially maladjusted young men of above-average intelligence whose trial was of questionable fairness, particularly as regards the mental health of one of them (who was probably more criminally insane than scheming murderer). In one of the book's most telling moments, Capote recounts the reports that the court-appointed psychiatrist would have rendered had the judge (and Kansas state law at the time) allowed them to do so.IN COLD BLOOD is truly a master work by an effete, East Coast reporter who beat the odds (and prejudices, no doubt) and entwined himself in his story and the lives of its actors to an unheard-of degree. The result was, and is, more than just a gripping account of a horrendous crime. It is a study in criminality: its victims, its effect on their families and community, its perpetrators and their families, even on the law enforcement personnel involved in the investigation. One can hardly imagine a more finely drawn study of a single crime and its all-too-human impact, presented in a form that remains to this day a page-turner in the very best sense of that phrase.