Criticism in Truman Capote’s in Cold Blood

Truman Capote’s “In Cold Blood” is a seminal work in the true crime genre, blending meticulous journalistic research with the narrative depth of a novel. While the book focuses on the brutal murder of the Clutter family in Holcomb, Kansas, in 1959, it also touches on the lives of the surviving Clutter daughters, Beverly and Eveanna, albeit in a peripheral manner. The book’s treatment of the surviving family members has been a point of contention among critics, who argue that Capote’s narrative choices raise ethical questions and reflect the broader implications of the true crime genre on the portrayal of victims and their families.

Capote’s narrative largely centers on the murderers, Perry Smith and Richard Hickock, providing detailed accounts of their backgrounds, psychological states, and even their thoughts leading up to and following the crime. In contrast, the Clutter family, particularly the surviving daughters, are portrayed more as part of the backdrop rather than as central figures. This has led to criticism that Capote dehumanizes the Clutter family to some extent, focusing more on the sensational aspects of the crime and its perpetrators than on the profound impact on the surviving relatives.

Critics argue that this approach can be seen as a form of narrative imbalance, where the victims and their suffering are overshadowed by a more detailed exploration of the criminals’ lives. This imbalance raises questions about the responsibilities of authors in the true crime genre to present a story that is not only engaging but also respectful and sensitive to the victims and their families. The sparse mention of Beverly and Eveanna in the book does little to convey the full scope of the tragedy’s impact on their lives, which continues long after the murderers are brought to justice.

Moreover, Capote’s sparse portrayal of the surviving daughters may reflect a broader tendency in true crime storytelling to prioritize narratives that are psychologically rich or thrilling at the expense of a more nuanced exploration of grief and survival. This focus often results in a skewed portrayal that can distort public perception of the crime and those involved. The portrayal—or lack thereof—of Beverly and Eveanna Clutter is indicative of this trend, where the aftermath and resilience of the family receive minimal attention compared to the criminals.

Furthermore, the ethical considerations of how Capote gained the trust of the Holcomb community, only to focus primarily on the killers, add another layer of criticism. The intimate details shared by the community and the Clutter family, intended to memorialize the victims and perhaps offer insights into their lives, instead serve the narrative arc of the murderers’ psychological exploration. This method of storytelling, while pioneering at the time, invites critique regarding the exploitative potential of such narratives, especially when they do not offer a balanced portrayal.

In conclusion, while “In Cold Blood” is often praised for its groundbreaking approach to non-fiction and its detailed psychological profile of two murderers, it also invites criticism for its treatment of the Clutter family, particularly the surviving daughters. The book’s focus on the murderers at the expense of the victims’ story highlights a critical ethical tension in the true crime genre—between the drive for a compelling narrative and the duty to honor the victims’ dignity and the full impact of the crime on their families. As true crime continues to evolve as a genre, Capote’s work remains a crucial reference point for discussions about these complex issues.

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