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Music for Chameleons
At the centre of Music for Chameleons is Handcarved Coffins, a ‘nonfiction novel’ based on the brutal crimes of a real-life murderer. Taking place in a small Midwestern town in America, it offers chilling insights into the mind of a killer and the obsession of the man bringing him to justice. Also in this volume are six short stories and seven ‘conversational portraits’ including a touching one of Marilyn Monroe, the ‘beautiful child’ and a hilarious one of a dope-smoking cleaning lady doing her rounds in New York.
262 pages, Paperback
First published January 1, 1980
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About the author
Truman Capote
345 books7,249 followersLibrarian Note: There is more than one author by this name in the Goodreads database.
Truman Capote was an American writer whose non-fiction, stories, novels and plays are recognised literary classics, including the novella Breakfast at Tiffany's (1958) and In Cold Blood (1965), which he labeled a "non-fiction novel." At least 20 films and TV dramas have been produced from Capote novels, stories and screenplays.
He was born as Truman Streckfus Persons to a salesman Archulus Persons and young Lillie Mae. His parents divorced when he was four and he went to live with his mother's relatives in Monroeville, Alabama. He was a lonely child who learned to read and write by himself before entering school. In 1933, he moved to New York City to live with his mother and her new husband, Joseph Capote, a Cuban-born businessman. Mr. Capote adopted Truman, legally changing his last name to Capote and enrolling him in private school. After graduating from high school in 1942, Truman Capote began his regular job as a copy boy at The New Yorker. During this time, he also began his career as a writer, publishing many short stories which introduced him into a circle of literary critics. His first novel, Other Voices, Other Rooms, published in 1948, stayed on The New York Times bestseller list for nine weeks and became controversial because of the photograph of Capote used to promote the novel, posing seductively and gazing into the camera.
In the 1950s and 1960s, Capote remained prolific producing both fiction and non-fiction. His masterpiece, In Cold Blood, a story about the murder of the Clutter family in Holcomb, Kansas, was published in 1966 in book form by Random House, became a worldwide success and brought Capote much praise from the literary community. After this success he published rarely and suffered from alcohol addiction. He died in 1984 at age 59.
Truman Capote was an American writer whose non-fiction, stories, novels and plays are recognised literary classics, including the novella Breakfast at Tiffany's (1958) and In Cold Blood (1965), which he labeled a "non-fiction novel." At least 20 films and TV dramas have been produced from Capote novels, stories and screenplays.
He was born as Truman Streckfus Persons to a salesman Archulus Persons and young Lillie Mae. His parents divorced when he was four and he went to live with his mother's relatives in Monroeville, Alabama. He was a lonely child who learned to read and write by himself before entering school. In 1933, he moved to New York City to live with his mother and her new husband, Joseph Capote, a Cuban-born businessman. Mr. Capote adopted Truman, legally changing his last name to Capote and enrolling him in private school. After graduating from high school in 1942, Truman Capote began his regular job as a copy boy at The New Yorker. During this time, he also began his career as a writer, publishing many short stories which introduced him into a circle of literary critics. His first novel, Other Voices, Other Rooms, published in 1948, stayed on The New York Times bestseller list for nine weeks and became controversial because of the photograph of Capote used to promote the novel, posing seductively and gazing into the camera.
In the 1950s and 1960s, Capote remained prolific producing both fiction and non-fiction. His masterpiece, In Cold Blood, a story about the murder of the Clutter family in Holcomb, Kansas, was published in 1966 in book form by Random House, became a worldwide success and brought Capote much praise from the literary community. After this success he published rarely and suffered from alcohol addiction. He died in 1984 at age 59.
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September 15, 2020
L’UOMO CHE VOLLE ESSERE FRED ASTAIRE
Truman Capote balla con Norma Jeane Mortenson Baker Monroe (Los Angeles, 1º giugno 1926 – Los Angeles, 5 agosto 1962) meglio nota come Marilyn Monroe.
E probabilmente avrebbe voluto essere anche anche Jacko, avrebbe voluto essere i due ballerini più leggeri di sempre.
Sin da bambino, Capote sognava di diventare un ballerino di tip tap, da sempre attratto dalla leggerezza (non posso non pensare alla prima lezione americana di Calvino).
Chiaramente è lui, Truman, il camaleonte del titolo - molto più lui che i veri animaletti affascinati dalla musica che compaiono nel primo splendido racconto.
Truman e la maschera.
È lui il camaleonte capace di essere scrittore di racconti e romanzi, giornalista di reportage e inchiesta, viaggiatore, sceneggiatore, attore, conversatore, personaggio a 360°, trasformista e illusionista, di essere un alcolizzato, un tossicomane, un omosessuale, un genio, ma non un santo.
Sono sei racconti, un romanzo breve che speravo non finisse mai, e sette ritratti (incontri?) dialogati. Affreschi brevi.
Volevo presentare un romanzo giornalistico, di ampio respiro e che avesse la credibilità del fatto reale.
Si tratta di una raccolta che avrei voglia di citare per intero, dove dalla meraviglia si passa allo stupore attraverso la bellezza. Capote è una voce altra, che conduce in altre stanze, apre porte.
È un compendio della sua arte, della sua grandezza: il fascino magico dei racconti autobiografici accanto a un nuovo romanzo-verità che finisce troppo presto, l’occhio penetrante dell’osservatore mondano e una serie stupenda di ritratti dialogati in cui spicca il più tenero e intenso omaggio di sempre all’indimenticabile bellissima bambina Norma Jeane.
La sua impareggiabile capacità di rendere letterario il gossip sarebbe stata apprezzata da Proust.
E nonostante il costante ricorso ad alcol e droghe, lo scrittore Capote era per un controllo completo della scrittura, e quindi dell’opera, diffidando dell’ispirazione “under the influence” o anche solo febbrile che limitava la padronanza dell’atto creativo, e, in sostanza, precludeva la ricerca della giusta distanza.
Il più famoso ritratto fotografico di Truman Capote è questo di Henri Cartier-Bresson scattato a New Orleans nel 1947.
Ecco il maggiore desiderio di Capote, così semplice e condivisibile:
Svegliarmi una mattina e sentirmi finalmente una persona adulta, svuotata di risentimenti, di idee di vendetta e di altre emozioni infantili, distruttrici. In altre parole, sentirmi maturo.
Questa ‘musica’ è la parte più oscura dell’oscurità, più folle della follia.
Truman Capote tra Peter Falk e David Niven in “Murder By Death – Invito a cena con delitto” di Robert Moore, 1976.
PS
Come dimenticare questo cammeo! In mezzo a un cast da brivido, Capote si improvvisò eccellente attore rubando la scena ai ben più esperti colleghi (Alec Guiness, Peter Sellers, Maggie Smith, David Niven, Peter Falk…!). La scena dove Lionel Twain, il padrone di casa, corregge l’inglese di Sellers-Wang mi si è impressa nella memoria da quando il film uscì nelle sale e io lo vidi quattro o cinque volte in una sola stagione.
https://www.youtube.com/watch?v=znS3g...
Truman Capote balla con Norma Jeane Mortenson Baker Monroe (Los Angeles, 1º giugno 1926 – Los Angeles, 5 agosto 1962) meglio nota come Marilyn Monroe.
E probabilmente avrebbe voluto essere anche anche Jacko, avrebbe voluto essere i due ballerini più leggeri di sempre.
Sin da bambino, Capote sognava di diventare un ballerino di tip tap, da sempre attratto dalla leggerezza (non posso non pensare alla prima lezione americana di Calvino).
Chiaramente è lui, Truman, il camaleonte del titolo - molto più lui che i veri animaletti affascinati dalla musica che compaiono nel primo splendido racconto.
Truman e la maschera.
È lui il camaleonte capace di essere scrittore di racconti e romanzi, giornalista di reportage e inchiesta, viaggiatore, sceneggiatore, attore, conversatore, personaggio a 360°, trasformista e illusionista, di essere un alcolizzato, un tossicomane, un omosessuale, un genio, ma non un santo.
Sono sei racconti, un romanzo breve che speravo non finisse mai, e sette ritratti (incontri?) dialogati. Affreschi brevi.
Volevo presentare un romanzo giornalistico, di ampio respiro e che avesse la credibilità del fatto reale.
Si tratta di una raccolta che avrei voglia di citare per intero, dove dalla meraviglia si passa allo stupore attraverso la bellezza. Capote è una voce altra, che conduce in altre stanze, apre porte.
È un compendio della sua arte, della sua grandezza: il fascino magico dei racconti autobiografici accanto a un nuovo romanzo-verità che finisce troppo presto, l’occhio penetrante dell’osservatore mondano e una serie stupenda di ritratti dialogati in cui spicca il più tenero e intenso omaggio di sempre all’indimenticabile bellissima bambina Norma Jeane.
La sua impareggiabile capacità di rendere letterario il gossip sarebbe stata apprezzata da Proust.
E nonostante il costante ricorso ad alcol e droghe, lo scrittore Capote era per un controllo completo della scrittura, e quindi dell’opera, diffidando dell’ispirazione “under the influence” o anche solo febbrile che limitava la padronanza dell’atto creativo, e, in sostanza, precludeva la ricerca della giusta distanza.
Il più famoso ritratto fotografico di Truman Capote è questo di Henri Cartier-Bresson scattato a New Orleans nel 1947.
Ecco il maggiore desiderio di Capote, così semplice e condivisibile:
Svegliarmi una mattina e sentirmi finalmente una persona adulta, svuotata di risentimenti, di idee di vendetta e di altre emozioni infantili, distruttrici. In altre parole, sentirmi maturo.
Questa ‘musica’ è la parte più oscura dell’oscurità, più folle della follia.
Truman Capote tra Peter Falk e David Niven in “Murder By Death – Invito a cena con delitto” di Robert Moore, 1976.
PS
Come dimenticare questo cammeo! In mezzo a un cast da brivido, Capote si improvvisò eccellente attore rubando la scena ai ben più esperti colleghi (Alec Guiness, Peter Sellers, Maggie Smith, David Niven, Peter Falk…!). La scena dove Lionel Twain, il padrone di casa, corregge l’inglese di Sellers-Wang mi si è impressa nella memoria da quando il film uscì nelle sale e io lo vidi quattro o cinque volte in una sola stagione.
https://www.youtube.com/watch?v=znS3g...
April 18, 2025
This book is very heterogeneous, and for those who do not know Truman Capote, this would give them an overview of the author's writing. This book combines abridged novels, the short story Coffin Made to Measure, and portraits and conversations that the author had with famous characters (like, for example, here, Marilyn Monroe) who, under the pen of Capote, suddenly come to life before our eyes. In the short stories gathered here, the author enjoys making the reader travel to the four corners of the United States and confronting the reader with characters who have absolutely nothing in common.
That was a delicious reading that only confirmed my viewpoint on the author. It is the second book I read before devouring all the others, one after the other, until I exhausted the stock. To discover!
That was a delicious reading that only confirmed my viewpoint on the author. It is the second book I read before devouring all the others, one after the other, until I exhausted the stock. To discover!
February 2, 2023
the biggest attraction here is "Handcarved Coffins" - an excellent account of serial killing in a small town. by turns mysterious, frustrating, tense, and bizarre, it details Capote's relationship with the FBI agent assigned to the case, who has in turn romantically assigned himself to one of the potential victims. the modus operandi of the killer is original and very upsetting. the identity of the killer does not appear to be in question. what arises over the course of the piece is a dual portrait of a haunted agent and an arrogant, infuriatingly entitled (potential) serial killer. intriguing stuff, although the ambiguity of the ending may be problematic for some. and of course it's possible that this True Crime story, told in the style of In Cold Blood, isn't a true crime at all, and is instead a combined product of Capote's overactive imagination and his narcissism as well. eh, who cares. whatever it may be in the end, it is still a riveting and beautifully spun tale of longing, horror, the sadness of some small towns and all broken lives, and the toxic power of the very rich, the very greedy, and the very psychotic.
the rest of the collection is an assortment of interviews, musings, and one very interesting personal narrative. at times very precise portraits and landscapes are drawn, at other times Capote's preciousness and tendencies towards navel-gazing and star-worship are a bit much. the pieces "Dazzle" and "Nocturnal Turnings" are fascinating and uncomfortable: nakedly honest self-portraits of an author whose penchants for self-admiration and self-loathing seem to be drawn in equal measures.
the rest of the collection is an assortment of interviews, musings, and one very interesting personal narrative. at times very precise portraits and landscapes are drawn, at other times Capote's preciousness and tendencies towards navel-gazing and star-worship are a bit much. the pieces "Dazzle" and "Nocturnal Turnings" are fascinating and uncomfortable: nakedly honest self-portraits of an author whose penchants for self-admiration and self-loathing seem to be drawn in equal measures.
September 15, 2023
Truman Capote had a way of making you feel as if he were whispering to you in a crowded room; "here is something I know and now I will tell you" as the rest of the crowd mulls about. It is this intimacy that makes his 'crime' stories so memorable. Would very much like to see how TC would have covered some of the crime stories if he had his own podcast today!
October 2, 2018
Sencillamente magnífico!
January 18, 2019
دوست دارم تناسخ بعد از مرگم یه پرنده باشه، ترجیحا کرکس! کرکس مجبور نیست بابت ظاهرش یا تواناییش تو دلبری و جلب رضایت بقیه خودش رو ناراحت کنه. به هرحال که کسی قرار نیست دوستش داشته باشه، زشته، زیادیه، هیچ جا نمی خوانش. در مورد آزادیای که این موقعیت پیش میآره کلی میشه حرف زد. از طرف دیگه مخالفتی با لاکپشت دریایی شدن هم ندارم. میتونن رو زمین ول بچرخن و از رمز و راز اعماق اقیانوس هم با خبرن. عمرشون هم زیاده و چشمهای خمارشون کلی حکمت و معرف جمع میکنه. - برداشت آزاد از غَلتهای شبانه، مصاحبه با خود
داستانهای کتاب صرفا گزارشهای مستندگونهی نویسنده از اتفاقات و ملاقاتهای روزمرهست، پس نباید توقع فرم معمول داستان کوتاه رو از این کتاب داشت. با این آگاهی به سراغ کتاب رفتم و لذت زیادی هم بردم. تصور نمیکردم گزارشهایی معمولی از موقعیتهای پیش پا افتاده تا این حد جذاب و خواندنی از آب در بیاد، برای همین کتاب رو در وقتهای مرده و در موقعیتهای مختلف و نسبتا ناجوری خوندم، اما واقعا تجربهی لذتبخشی بود. بخش زیادی از این لذت رو مدیون طنز گزنده و صراحت کلام نویسنده هستم مثلا این یک مورد:
خب، حالا بعد از خوندن دومین کتاب از کاپوتی می تونم بگم من عاشق این نابغهی معتاد الکلیام!
September 15, 2025
ترومن شو :
موسیقی برای آفتابپرستها، عرض اندام کاپوتی برای نشان دادن قدرت روایت گری اوست. کاپوتی هرچند بیشتر عمرش را به نوشتن گذراند و از سن بسیار پایین هم شروع کرده بود، کارنامه چندان حجیمی ندارد. گفتنی است که موقعیت چندان رشک برانگیزی هم ندارد. کمتر کسی را پیدا میکنید که بگوید نویسنده محبوب من ترومن کاپوتی است. با این همه بسیاری آرزو دارند کاش میتوانستند کتابی در حد «به خونسردی» مینوشتند. کاپوتی نویسندهی بامزهای بود و محبوب قلوب اطرافیانش ( که گسترهشان هم زیاد بود ). ولی سبک زندگی شوخوشنگ و بیاعتنایش با تصویر نویسندگان دیگر نمیخواند. عبوس و تلخ نبود و چندان اهل بیانیه دادن نبود. بسیار تجربهگرا بود البته نه مانند پستمدرنها یا نویسندههایی که کارهای عجیب و غریب میکنند بلکه سعی میکرد نوع روایتش را بین داستان و روزنامهنگاری و اخبار مستند جای بدهد که خب موفق هم بود.
موسیقی برای آفتاب پرستها خاطراتی از زندگی کاپوتی است که شامل دو بخش است. اهمیت بخش اول در ماجرا است و اهمیت بخش دوم در دیالوگها. کاپوتی بی هیچ ادعایی و به راحتی تمام میتواند مخاطبش را سر قصهاش نگه دارد. احتمالا هیچ ادبیات دوستی مایل نیست خاطرهی کاپوتی را نصفه ول کند. شاید به ظاهر فقط یکسری خاطره و گفتگوی جذاب باشند ام�� بعد از پایان کتاب به بیشتر آنها فکر خواهید کرد و بنظرم این برای یک کتاب نکته بسیار مهمی است. این کتاب خلقشده است برای زمانی که میخواهید از رخوت دوری از کتاب بیرون بیایید یا حین انجام یک پروژه مهم یا پس خواندن یک کلاسیک بزرگ نیاز به استراحتی مفرح اما غیر مبتذل دارید.
بهرحال کاپوتی نویسنده محبوب من نیست اما همیشه میتوانم روی طنازیاش حساب کنم، حتی وقتی با قاتلها مصاحبه میکند.
شهریور ۱۴۰۴
موسیقی برای آفتابپرستها، عرض اندام کاپوتی برای نشان دادن قدرت روایت گری اوست. کاپوتی هرچند بیشتر عمرش را به نوشتن گذراند و از سن بسیار پایین هم شروع کرده بود، کارنامه چندان حجیمی ندارد. گفتنی است که موقعیت چندان رشک برانگیزی هم ندارد. کمتر کسی را پیدا میکنید که بگوید نویسنده محبوب من ترومن کاپوتی است. با این همه بسیاری آرزو دارند کاش میتوانستند کتابی در حد «به خونسردی» مینوشتند. کاپوتی نویسندهی بامزهای بود و محبوب قلوب اطرافیانش ( که گسترهشان هم زیاد بود ). ولی سبک زندگی شوخوشنگ و بیاعتنایش با تصویر نویسندگان دیگر نمیخواند. عبوس و تلخ نبود و چندان اهل بیانیه دادن نبود. بسیار تجربهگرا بود البته نه مانند پستمدرنها یا نویسندههایی که کارهای عجیب و غریب میکنند بلکه سعی میکرد نوع روایتش را بین داستان و روزنامهنگاری و اخبار مستند جای بدهد که خب موفق هم بود.
موسیقی برای آفتاب پرستها خاطراتی از زندگی کاپوتی است که شامل دو بخش است. اهمیت بخش اول در ماجرا است و اهمیت بخش دوم در دیالوگها. کاپوتی بی هیچ ادعایی و به راحتی تمام میتواند مخاطبش را سر قصهاش نگه دارد. احتمالا هیچ ادبیات دوستی مایل نیست خاطرهی کاپوتی را نصفه ول کند. شاید به ظاهر فقط یکسری خاطره و گفتگوی جذاب باشند ام�� بعد از پایان کتاب به بیشتر آنها فکر خواهید کرد و بنظرم این برای یک کتاب نکته بسیار مهمی است. این کتاب خلقشده است برای زمانی که میخواهید از رخوت دوری از کتاب بیرون بیایید یا حین انجام یک پروژه مهم یا پس خواندن یک کلاسیک بزرگ نیاز به استراحتی مفرح اما غیر مبتذل دارید.
بهرحال کاپوتی نویسنده محبوب من نیست اما همیشه میتوانم روی طنازیاش حساب کنم، حتی وقتی با قاتلها مصاحبه میکند.
شهریور ۱۴۰۴
December 8, 2024
کتاب مجموعهای از داستانهای کوتاه و یادداشتهای شخصی ترومن کاپوتی است. این کتاب برخلاف رمانهای طولانیتر کاپوتی، سبکی متنوعتر دارد و شامل داستانهای تخیلی، مقالات شخصی و خاطرات کاپوتی است. تمرکز داستانها اغلب بر روابط پیچیده انسانی، روابط عاشقانه و فریبکاری است. در کل، کتاب موسیقی برای آفتاب پرستها نمایشگر استعداد ادبی کاپوتی در قلمروهای مختلف داستاننویسی است.
September 11, 2021
Reseña en mi canal: https://youtu.be/BHdKLLg0HW0
November 17, 2021
Prva asocijacija na „Muziku za kameleone” mi je Almodovarov film „Sve o mojoj majci” jer na njegovom početku majka poklanja sinu baš ovu knjigu za rođendan i to neposredno pre nego što ga omiljena glumica ubije kolima – pastiš i pozajmica iz Kasavetesovog „Opening night”. Film načelno nema direktne veze sa zbirkom proze, ali opus španskog reditelja je tematski sličan Kapoteovom – traganje za značenjem u sopstvenom detinjstvu, ekscentrični likovi, žene su uvek lepo obučene, opsesija ubistvima i kriminalcima, lgbt, arogancija koja se otkriva kao samoprezir, ali pre svega insistiranje na uglačanom stilu kao bogu i batini svega, što u oba slučaja stvara osećaj jednog artificijelnog sveta u kome je sve opsesivno-kompulsivno cakum-pakum – onako baš površno, ali ne u lošem smislu, jer površine kada su dobro uglačane na pravim mestima mogu da te iseku na komade.
Kao što rekoh, zbirka proze, objavljena nakon četrnaestogodišnje pauze i poslednja Kapoteova knjiga štampana za života. U njoj su sabrani različiti tekstovi, ili barem tekstovi koji žele da se predstave različito, mada bih ja to sve strpao u priče. Velikim delom autobiografske (ali i kvaziautobiografske), daleko bolje kada su nastale kao plod ogoljavanja jednog nesigurnog i punog samoprezira dragog momka, a manje kada autor želi da se preobuče u urbanog selebrti Njujorčanina – prvo zna da dirne, ovo drugo uglavnom samo zabavlja. Stoga, iskustvo čitanja nalikuje da na fensi sedeljci sedim sa milim dru[kanom u nekom uglu dok vam brilijantno priča svoje dogodovštine (malo stvarne, malo domaštane), sa uvek izabranim pravim pridevom kada opisuje neku osobu i upečatljivo izabranim detaljem kako bi dočarao atmosferu. I bude tu i vrlo zlobnih komentara i vulgarnih hvalospeva, pa i dosta tračeva (dobro, neću da se pravim da me ne zanima kakva je Merilin Monro ili da čujem kako je drugarica njegove drugarice preko frizera njene ujne čula za vic koji je ispričala Greta Garbo u liftu), ali, ipak, u trenucima kada se Kapote baš otvori i razotkrije da je ispod arogantnog galamdžije ipak bio jedan tužan i nesrećan čovek, malo sa žaljenjem gledam u martini u našim rukama i zažalim što ipak ne pijemo neki zidarski zaječarac na nekom drugom mestu.
I da se vratim na kraju opet Kapoteovom stilu. Bez obzira što sigurno nije pisano sa velikim ambicijama (čitaj: 14 godina ništa nije objavio pa ajde da prikupi šta ima), čisto stilski gledano, ovo jeste Kapoteov vrhunac. Za one koji ga vole, uzbudljivo je posmatrati kako je od stilske neumerenosti i glomaznosti debitanskog romana „Drugi glasovi, druge odaje”, na kraju došao do bogate proze gde nema ničega suvišnog u izrazu. Pitanje je šta bi Kapote njime mogao da uradi da nije ostao ono što američki pisci najčešće vole da ostanu - zabavljači srednje klase.
Kao što rekoh, zbirka proze, objavljena nakon četrnaestogodišnje pauze i poslednja Kapoteova knjiga štampana za života. U njoj su sabrani različiti tekstovi, ili barem tekstovi koji žele da se predstave različito, mada bih ja to sve strpao u priče. Velikim delom autobiografske (ali i kvaziautobiografske), daleko bolje kada su nastale kao plod ogoljavanja jednog nesigurnog i punog samoprezira dragog momka, a manje kada autor želi da se preobuče u urbanog selebrti Njujorčanina – prvo zna da dirne, ovo drugo uglavnom samo zabavlja. Stoga, iskustvo čitanja nalikuje da na fensi sedeljci sedim sa milim dru[kanom u nekom uglu dok vam brilijantno priča svoje dogodovštine (malo stvarne, malo domaštane), sa uvek izabranim pravim pridevom kada opisuje neku osobu i upečatljivo izabranim detaljem kako bi dočarao atmosferu. I bude tu i vrlo zlobnih komentara i vulgarnih hvalospeva, pa i dosta tračeva (dobro, neću da se pravim da me ne zanima kakva je Merilin Monro ili da čujem kako je drugarica njegove drugarice preko frizera njene ujne čula za vic koji je ispričala Greta Garbo u liftu), ali, ipak, u trenucima kada se Kapote baš otvori i razotkrije da je ispod arogantnog galamdžije ipak bio jedan tužan i nesrećan čovek, malo sa žaljenjem gledam u martini u našim rukama i zažalim što ipak ne pijemo neki zidarski zaječarac na nekom drugom mestu.
I da se vratim na kraju opet Kapoteovom stilu. Bez obzira što sigurno nije pisano sa velikim ambicijama (čitaj: 14 godina ništa nije objavio pa ajde da prikupi šta ima), čisto stilski gledano, ovo jeste Kapoteov vrhunac. Za one koji ga vole, uzbudljivo je posmatrati kako je od stilske neumerenosti i glomaznosti debitanskog romana „Drugi glasovi, druge odaje”, na kraju došao do bogate proze gde nema ničega suvišnog u izrazu. Pitanje je šta bi Kapote njime mogao da uradi da nije ostao ono što američki pisci najčešće vole da ostanu - zabavljači srednje klase.
March 2, 2021
I believe that the pieces comprising this book were written after Capote abandoned the novel that was ultimately published, in unfinished form, as "Answered Prayers". Even though he struggled with his novel, he still showed his gifts for observation and characterization in the short stories that form the first part of this book. They are not individually titled, but all fall under the heading Music for Chameleons. There are some wonderful stories here, starting with the chameleons transfixed by a Mozart sonata. This was my favorite part of the book.
Part two of the book is a nonfiction novella called Handcarved Coffins. It follows a murder investigation, and is similar to, but not as good as, "In Cold Blood". The final part of the book is called Conversational Pieces. My main takeaway from this part of the book is that Capote had a really interesting life, knew everyone and went everywhere. Unlike in most of his other writing, Capote himself was a character in each of the three parts of this book. He was a fascinating creation.
Part two of the book is a nonfiction novella called Handcarved Coffins. It follows a murder investigation, and is similar to, but not as good as, "In Cold Blood". The final part of the book is called Conversational Pieces. My main takeaway from this part of the book is that Capote had a really interesting life, knew everyone and went everywhere. Unlike in most of his other writing, Capote himself was a character in each of the three parts of this book. He was a fascinating creation.
May 26, 2023
আমার প্রিয় গদ্যশিল্পীদের তালিকায় ট্রুম্যান কাপোটি'র নাম উপরের দিকে থাকবে। এমন ঝকঝকে গদ্য লেখার হাত তাঁর, পড়লে মনে হয় বৃষ্টিঝরা বিকেলে বারান্দায় বসে গরম চায়ে রাস্ক বিস্কুট ডুবিয়ে খাচ্ছি। তাঁর "ইন কোল্ড ব্লাড" বইটা পড়ার অভিজ্ঞতার কথা এখনও বেশ মনে আছে। ক্রাইম জার্নালিজমকে সাহিত্যের পর্যায়ে তুলে ফেলেছিলেন সেই বইতে। তারপর "ব্রেকফাস্ট অ্যাট টিফ্যানিজ" সহ দু-তিনটে ছোটগল্প পড়েছিলাম। গল্প যেমনই লাগুক, তাঁর গদ্য পড়লে একটা আলাদা আরাম পাওয়া যায়। "মিউজিক ফর ক্যামিলিয়ন্স" বইটা বোধহয় স্টাইলিশ এবং উদ্ভাবনী গদ্যকার হিসেবে কাপোটি'র সবচেয়ে আকর্ষণীয় কাজ (যদিও তাঁর সব ছোটগল্প এখনও পড়িনি আমি)।
তিনটে আলাদা অংশে বইটাকে ভাগ করা হয়েছে। প্রথম অংশে কয়েকটা ছোটগল্প রয়েছে। নাহ, ছোটগল্প বললে বোধহয় ভুল হবে। ওগুলোকে "ক্যারেকটার-স্কেচ" বলা উচিত। কাপোটির পর্যবেক্ষণ ক্ষমতা নিয়ে তো আলাদা করে কিছু আর বলার নেই। তাঁর চমৎকার সেন্স-অফ-হিউমর নিয়েও কিছু বলার নেই। এই বইয়ের মুখবন্ধে লেখক নতুন একটা সাহিত্য-ফর্মের উল্লেখ করেছেন : "নন-ফিকশন নভেল" (আশা করি নামটা শুনেই আমরা খানিকটা আন্দাজ করতে পারছি ব্যাপারটা আসলে কী জিনিস)। তো, সেই হিসেবে এই গল্পগুলোকেও "নন-ফিকশন শর্টস্টোরিজ" বলা যেতে পারে।
তার পরের অংশটা, মানে বইয়ের দ্বিতীয় অংশটাকেই আসলে তিনি "নন-ফিকশন নভেল" হিসেবে উল্লেখ করেছেন। আমেরিকার মিডওয়েস্ট অঞ্চলের (সম্ভবত ক্যানসাস স্টেটের) একটা স্মলটাউনে ঘটে যাওয়া সিরিয়াল কিলিংয়ের সত্যি ঘটনাকে উপজীব্য করে লেখা কাহিনিটা পড়ে ভীষণ আনন্দ পেয়েছি। আনন্দ পাওয়ার কথাটা স্বীকার করতে একটু লজ্জা লাগছে যদিও। একটার পর একটা মানুষ খুন হয়ে যাচ্ছে (তাও আবার হতভম্বকর উপায়ে), আর আমি ভাবছি : আহা, এভাবেও লেখা যায়! কেয়া বাত, কেয়া বাত!
তৃতীয় অংশটা বইয়ের সবচেয়ে দুর্দান্ত অংশ। অংশটার নাম : "কনভার্সেশনাল পোর্ট্রেটস্"। মানে, পারস্পরিক কথোপকথনের মাধ্যমে মানুষের চারিত্রিক রূপ ফুটিয়ে তোলার চেষ্টা করা হয়েছে। সাতজন আলাদা আলাদা মানুষকে নিয়ে লিখেছেন। সাতজনের সামাজিক স্ট্যাটাস সাতরকম। কেউ লোকের বাড়িতে ঘরদোর পরিষ্কার করার কাজ করেন। কেউ ওয়াল স্ট্রিটের নামজাদা (কিন্তু ঘনঘন মদ্যপায়ী) ব্যক্তিত্ব। কেউ আবার কুখ্যাত সাইকোপ্যাথ চার্লস ম্যানসনের ঘনিষ্ঠ সহকারী (ইদানিং যিনি, বলাই বাহুল্য, শ্রীঘরে বিরাজ করছেন)। সাতজন মানুষের মধ্যে অভিনেত্রী মেরিলিন মনরো-ও আছেন (যিনি নাট্যকার আর্থার মিলার-এর প্রেমে পড়েছেন সদ্য)। সাতজনের শেষ ব্যক্তিটি হলেন লেখক নিজেই। তিনি নিজেই নিজের ইন্টারভিউ নিয়েছেন। প্রত্যেকটা লেখাই উপভোগ্য এবং চিন্তার খোরাক জোগানদায়ী। কাপোটি'র রসবোধের ব্যাপারটা বারবার বলতে ইচ্ছে করে। মোটাদাগের নয়, খুব সূক্ষ্ম এবং তৃপ্তিদায়ক। কেবল রসবোধ আর স্টাইল নয়, প্রতিটা লেখার মধ্যে লেখকের একটা গভীর মানবিক সত্ত্বা টের পাওয়া যায়। একটা ছায়াচ্ছন্ন "হিউম্যান" দিক। নিজের সঙ্গে নিজের কথোপকথনের যে-লেখাটা, সেখান থেকে ছোটো একটা টুকরো তুলে এনে এই রিভিউটা সমাপ্ত করা যাক।
Q : If you could be granted one wish, what would it be?
A : To wake up one morning and feel that I was at last a grown-up person, emptied of resentment, vengeful thoughts, and other wasteful, childish emotions. To find myself, in other words, an adult.
এমন একটা সকালের কথা আমিও প্রায়শই চিন্তা করি। কিন্তু হে মা জগদম্বা, এখনও সেই সকালটার দেখা পেলাম না।
তিনটে আলাদা অংশে বইটাকে ভাগ করা হয়েছে। প্রথম অংশে কয়েকটা ছোটগল্প রয়েছে। নাহ, ছোটগল্প বললে বোধহয় ভুল হবে। ওগুলোকে "ক্যারেকটার-স্কেচ" বলা উচিত। কাপোটির পর্যবেক্ষণ ক্ষমতা নিয়ে তো আলাদা করে কিছু আর বলার নেই। তাঁর চমৎকার সেন্স-অফ-হিউমর নিয়েও কিছু বলার নেই। এই বইয়ের মুখবন্ধে লেখক নতুন একটা সাহিত্য-ফর্মের উল্লেখ করেছেন : "নন-ফিকশন নভেল" (আশা করি নামটা শুনেই আমরা খানিকটা আন্দাজ করতে পারছি ব্যাপারটা আসলে কী জিনিস)। তো, সেই হিসেবে এই গল্পগুলোকেও "নন-ফিকশন শর্টস্টোরিজ" বলা যেতে পারে।
তার পরের অংশটা, মানে বইয়ের দ্বিতীয় অংশটাকেই আসলে তিনি "নন-ফিকশন নভেল" হিসেবে উল্লেখ করেছেন। আমেরিকার মিডওয়েস্ট অঞ্চলের (সম্ভবত ক্যানসাস স্টেটের) একটা স্মলটাউনে ঘটে যাওয়া সিরিয়াল কিলিংয়ের সত্যি ঘটনাকে উপজীব্য করে লেখা কাহিনিটা পড়ে ভীষণ আনন্দ পেয়েছি। আনন্দ পাওয়ার কথাটা স্বীকার করতে একটু লজ্জা লাগছে যদিও। একটার পর একটা মানুষ খুন হয়ে যাচ্ছে (তাও আবার হতভম্বকর উপায়ে), আর আমি ভাবছি : আহা, এভাবেও লেখা যায়! কেয়া বাত, কেয়া বাত!
তৃতীয় অংশটা বইয়ের সবচেয়ে দুর্দান্ত অংশ। অংশটার নাম : "কনভার্সেশনাল পোর্ট্রেটস্"। মানে, পারস্পরিক কথোপকথনের মাধ্যমে মানুষের চারিত্রিক রূপ ফুটিয়ে তোলার চেষ্টা করা হয়েছে। সাতজন আলাদা আলাদা মানুষকে নিয়ে লিখেছেন। সাতজনের সামাজিক স্ট্যাটাস সাতরকম। কেউ লোকের বাড়িতে ঘরদোর পরিষ্কার করার কাজ করেন। কেউ ওয়াল স্ট্রিটের নামজাদা (কিন্তু ঘনঘন মদ্যপায়ী) ব্যক্তিত্ব। কেউ আবার কুখ্যাত সাইকোপ্যাথ চার্লস ম্যানসনের ঘনিষ্ঠ সহকারী (ইদানিং যিনি, বলাই বাহুল্য, শ্রীঘরে বিরাজ করছেন)। সাতজন মানুষের মধ্যে অভিনেত্রী মেরিলিন মনরো-ও আছেন (যিনি নাট্যকার আর্থার মিলার-এর প্রেমে পড়েছেন সদ্য)। সাতজনের শেষ ব্যক্তিটি হলেন লেখক নিজেই। তিনি নিজেই নিজের ইন্টারভিউ নিয়েছেন। প্রত্যেকটা লেখাই উপভোগ্য এবং চিন্তার খোরাক জোগানদায়ী। কাপোটি'র রসবোধের ব্যাপারটা বারবার বলতে ইচ্ছে করে। মোটাদাগের নয়, খুব সূক্ষ্ম এবং তৃপ্তিদায়ক। কেবল রসবোধ আর স্টাইল নয়, প্রতিটা লেখার মধ্যে লেখকের একটা গভীর মানবিক সত্ত্বা টের পাওয়া যায়। একটা ছায়াচ্ছন্ন "হিউম্যান" দিক। নিজের সঙ্গে নিজের কথোপকথনের যে-লেখাটা, সেখান থেকে ছোটো একটা টুকরো তুলে এনে এই রিভিউটা সমাপ্ত করা যাক।
Q : If you could be granted one wish, what would it be?
A : To wake up one morning and feel that I was at last a grown-up person, emptied of resentment, vengeful thoughts, and other wasteful, childish emotions. To find myself, in other words, an adult.
এমন একটা সকালের কথা আমিও প্রায়শই চিন্তা করি। কিন্তু হে মা জগদম্বা, এখনও সেই সকালটার দেখা পেলাম না।
August 30, 2012
If you want to know more about Truman Capote, this is a better entertaining option for you. Composed of 14 short stories, Capote made himself a character in each. In the last one, in fact, he appeared as 2 characters conversing with each other. I had a nice time reading most of them because he seemed like a very versatile writer who was not afraid to experiment. I understand that these small masterpieces appeared in various magazines (New Yorker, Esquire, etc) during his time. So, probably that's the reason why each of them had to be fresh, engaging and interesting. You see, to keep the readers always looking forward to his piece in each issue of the magazine.
I. MUSIC FOR CHAMELEONS
Music for the Chameleons. 3 STARS
The narrator is a guest in a lovely house in Martinique. There is an aristocratic lady in the house and she takes care of chameleons. She plays music for them to emit different colors. I am not sure what Capote's exact message is but I thought that the colors of the chameleons symbolize the ever-changing opinion of the aristocrats with regards to the aboriginals in the island.
Mr. Jones. 2 STARS
So, who was Mr. Jones and why did he disappear so suddenly? What was Capote's motive in telling his reader that the narrator saw him in the train again? I just did not get it. I know there is a point there somewhere but sorry.
A Lamp in the Window. 4 STARS
I liked the ending. It was unexpected. I like it when Capote shows his quirkiness, i.e., his fun side. We know he was gay and gays are fun people. So, this story comes off as sincere and fun too. But don't get me wrong, this is not funny. Know what I mean?
Mojave. 3 STARS
An old masseur who is left all alone in a desert by his prostitute wife while he is urinating. In their trailer is the wife's lover whose hair is full of smelly pomade. Despite what the wife did, the elderly man says that he still loves his wife. This reminded me of gay men who knew all along that they were being fooled by their lovers and yet they were blind. So pathetic yet we all know this happens, gay or straight.
Hospitality. 3 STARS
Seems like this one is a true-to-life experience of Capote while growing up during the Depression. I just wondered where they got all those food while many Americans go hungry like what I read in Out of the Dust and of course book:The Grapes of Wrath|4395].
Dazzle. 4 STARS
Very funny childhood story of a gay boy Capote. He teased the reader on what he would ask the witch for. I thought I knew and then Capote made a twist but still I got it right. This is a breakthrough story because in here, Capote made known to the world that when he was young,
II. HANDCARVED COFFINS
A Nonfiction Account of an American Crime. 4 STARS
A well-loved politician in an small town in the South has been discovered to be the mastermind for the killing of members of the committee. The said committee denied his huge track of land the proper irrigation since the river was diverted. I liked the story telling and the playfulness of Capote's character (yes, he is in the story just like the other stories in this book) especially the references to Jane Austen and Edith Wharton's male characters. I should read a Wharton and resume my reading of Austen books.
This comprises half of the book. I think he wrote this as a follow up to In Cold Blood. However, according to Wiki, this is basically fiction as there was no criminal case like this. However, Capote is one of the characters here and the events parallel those of In Cold Blood. In that said masterpiece of him, Capote did not appear as a character.
III. CONVERSATIONAL PORTRAITS
A Day's Work. 3 STARS
Capote joins and observes a girl Friday cleaning the houses of the rich and famous in Italy. Not all of them are rich and famous but with juicy stories. There is a reality TV show like this, I think.
Hello Stranger. 4 STARS
"Shades of Humbert Humbert," says Capote but George Claxton doesn't read books because he hates literature. When they were young, Capote did all the book reports of George while the later did all his assignments in Algebra. Capote flunked first year Algebra thrice even with the help of a tutor! I think I can relate to this. Not in my case, but someone dear.
Hidden Gardens. 2 STARS
I got distracted by the shift in narratives. All I understood was a guy with a huge prick and he put it on the girl who inquired about it and the girl's hair turned white overnight (because of intense pressure). Maybe Capote meant this to be a joke and I took it seriously?
Derring-do. 2 STARS
Maybe I was just too tired while reading this part late last night. It seemed like another In Cold Blood criminal case this time with a serial killer facing execution soon. Other than that, this one did not leave anything in my mind.
Then It All Came Down. 3 STARS
This one also has similarities with some scenes in Capote's In Cold Blood. Well, this book was his follow up to that best-selling novel of him, right? In here, Capote is conversing with an inmate in the maximum-security cell block. The inmate, Robert Beausoleil, was charged of multiple murder. In the conversation, Capote or CP is namedropping; claiming to have met Lee Harvey Oswald, Priscilla Johnson, etc. Based on Wiki, party-boy Capote hobnobbed with the rich and famous.
A Beautiful Child. 4 STARS
Ha! This is the cutest story here. Marilyn Monroe, the sex goddess during Capote's time, appears as herself talking with our genius writer. It reminds me of beautiful girls in the campus with gay man as sidekick or bestfriend. This made me want to read a book about Marilyn Monroe. The way she expresses herself here is... cute!
Nocturnal Turnings, or How Siamese Twins Have Sex. 5 STARS
Don't be misled by the title. There is nothing obscene here. They slept in the end. "They" means Capote and Capote. Two personas in one body. They talk to each other and unlike the angel and the demon, the ying and yang, they are not completely opposites. So, you have to really take time to read their banters. Brilliant and funny. Very Capote.
I think this collection of his works was entitled "Music for Chameleons" because like what was in the first story, we readers are like chameleons that change our colors depending on the music provided to us. In this case, the music is provided by Capote. He writes, we read. Then our reaction varies depending on his style. And he has a lot of those (styles) up his sleeves.
I. MUSIC FOR CHAMELEONS
Music for the Chameleons. 3 STARS
The narrator is a guest in a lovely house in Martinique. There is an aristocratic lady in the house and she takes care of chameleons. She plays music for them to emit different colors. I am not sure what Capote's exact message is but I thought that the colors of the chameleons symbolize the ever-changing opinion of the aristocrats with regards to the aboriginals in the island.
Mr. Jones. 2 STARS
So, who was Mr. Jones and why did he disappear so suddenly? What was Capote's motive in telling his reader that the narrator saw him in the train again? I just did not get it. I know there is a point there somewhere but sorry.
A Lamp in the Window. 4 STARS
I liked the ending. It was unexpected. I like it when Capote shows his quirkiness, i.e., his fun side. We know he was gay and gays are fun people. So, this story comes off as sincere and fun too. But don't get me wrong, this is not funny. Know what I mean?
Mojave. 3 STARS
An old masseur who is left all alone in a desert by his prostitute wife while he is urinating. In their trailer is the wife's lover whose hair is full of smelly pomade. Despite what the wife did, the elderly man says that he still loves his wife. This reminded me of gay men who knew all along that they were being fooled by their lovers and yet they were blind. So pathetic yet we all know this happens, gay or straight.
Hospitality. 3 STARS
Seems like this one is a true-to-life experience of Capote while growing up during the Depression. I just wondered where they got all those food while many Americans go hungry like what I read in Out of the Dust and of course book:The Grapes of Wrath|4395].
Dazzle. 4 STARS
Very funny childhood story of a gay boy Capote. He teased the reader on what he would ask the witch for. I thought I knew and then Capote made a twist but still I got it right. This is a breakthrough story because in here, Capote made known to the world that when he was young,
II. HANDCARVED COFFINS
A Nonfiction Account of an American Crime. 4 STARS
A well-loved politician in an small town in the South has been discovered to be the mastermind for the killing of members of the committee. The said committee denied his huge track of land the proper irrigation since the river was diverted. I liked the story telling and the playfulness of Capote's character (yes, he is in the story just like the other stories in this book) especially the references to Jane Austen and Edith Wharton's male characters. I should read a Wharton and resume my reading of Austen books.
This comprises half of the book. I think he wrote this as a follow up to In Cold Blood. However, according to Wiki, this is basically fiction as there was no criminal case like this. However, Capote is one of the characters here and the events parallel those of In Cold Blood. In that said masterpiece of him, Capote did not appear as a character.
III. CONVERSATIONAL PORTRAITS
A Day's Work. 3 STARS
Capote joins and observes a girl Friday cleaning the houses of the rich and famous in Italy. Not all of them are rich and famous but with juicy stories. There is a reality TV show like this, I think.
Hello Stranger. 4 STARS
"Shades of Humbert Humbert," says Capote but George Claxton doesn't read books because he hates literature. When they were young, Capote did all the book reports of George while the later did all his assignments in Algebra. Capote flunked first year Algebra thrice even with the help of a tutor! I think I can relate to this. Not in my case, but someone dear.
Hidden Gardens. 2 STARS
I got distracted by the shift in narratives. All I understood was a guy with a huge prick and he put it on the girl who inquired about it and the girl's hair turned white overnight (because of intense pressure). Maybe Capote meant this to be a joke and I took it seriously?
Derring-do. 2 STARS
Maybe I was just too tired while reading this part late last night. It seemed like another In Cold Blood criminal case this time with a serial killer facing execution soon. Other than that, this one did not leave anything in my mind.
Then It All Came Down. 3 STARS
This one also has similarities with some scenes in Capote's In Cold Blood. Well, this book was his follow up to that best-selling novel of him, right? In here, Capote is conversing with an inmate in the maximum-security cell block. The inmate, Robert Beausoleil, was charged of multiple murder. In the conversation, Capote or CP is namedropping; claiming to have met Lee Harvey Oswald, Priscilla Johnson, etc. Based on Wiki, party-boy Capote hobnobbed with the rich and famous.
A Beautiful Child. 4 STARS
Ha! This is the cutest story here. Marilyn Monroe, the sex goddess during Capote's time, appears as herself talking with our genius writer. It reminds me of beautiful girls in the campus with gay man as sidekick or bestfriend. This made me want to read a book about Marilyn Monroe. The way she expresses herself here is... cute!
Nocturnal Turnings, or How Siamese Twins Have Sex. 5 STARS
Don't be misled by the title. There is nothing obscene here. They slept in the end. "They" means Capote and Capote. Two personas in one body. They talk to each other and unlike the angel and the demon, the ying and yang, they are not completely opposites. So, you have to really take time to read their banters. Brilliant and funny. Very Capote.
I think this collection of his works was entitled "Music for Chameleons" because like what was in the first story, we readers are like chameleons that change our colors depending on the music provided to us. In this case, the music is provided by Capote. He writes, we read. Then our reaction varies depending on his style. And he has a lot of those (styles) up his sleeves.
July 21, 2023
За мен лично най-добрата книга на Капоти. Вече съм фен, след три разочароващи опита с други негови хвалени творби.
September 25, 2015
In this collection of fiction and non-fiction from late in Capote's life, he shows us that while his fiction may be depleting, his non-fiction is as sharp as ever. The stories at the beginning of the book didn't do anything for me. They were all very middling and detracted from this work in my opinion. "Handcarved Coffins" is a work in the style In Cold Blood but the recent discovery that most of it was probably made up does make it hard to suspend disbelief. However, the real jewel in this collection, the reason why it's getting three-stars, is A Beautiful Child. The transcript of the day Capote spent with Marilyn Monroe is absolutely fantastic. It portrays a side of Monroe that we never really got to see, we see her as a human being. It is utterly wonderful and strangely poetic. It's just a shame that the rest of this work doesn't live up to it.
January 24, 2018
من اول اصلاح کنم که این دقیقاً داستانکوتاه نیست. خاطرات خود ترومن کاپوتیه. بعضاً جذابن، بعضاً حوصلهسربر. توی بعضیاشون چیزهای ناب و درخور تأملی هست و خیلی داستانیه. ولی بعضیای دیگهشون بیشتر برای کسایی که به خود ترومن کاپوتی علاقه دارن، جذابه.
March 6, 2008
I'd been teaching In Cold Blood for two semesters and used the preface to this to introduce In Cold Blood, so I figured I might as well read the rest of the book. This is late-period Capote, mostly a mishmash of personal essays, anecdotes, and a novella-length true crime story.
First of all, the preface makes Capote seem like a self-involved jackass (which he by most accounts was - remember the postscript to the movie saying he never recovered from writing In Cold Blood?), but it also reveals his dislike for his own work, including In Cold Blood; he even says he went back and rewrote much of the novel, Unanswered Prayers, that ironically was never finished. About the work included in this book, he says basically two things:
1. He wants to "combine within a single form - say the short story - all he knows about every other form of writing"
2. Instead of consciously leaving himself out of his writing, "I set myself center stage, and reconstructed, in a severe, minimal manner, commonplace conversations with everyday people: the superintendent of my building, a masseur at the gym, an old school friend, [Marilyn Monroe, Robert Beausoleil, the two sides of himself - you know, everyday people]…"
So the book is divided into 3 parts, the first and third being mostly brief snapshots and anecdotes that seem kind of retrogressive to me, harking back to his early days writing about Brooklyn Heights, only now he's moved to the Upper East Side. The Marilyn Monroe piece is mostly trifling and I'm sure did no favors to her reputation, but has a clever, moderately powerful turn-of-phrase ending it. "Mojave," the only pure fiction included in the collection, is easily the worst apple in the bunch; it says a lot about the scarcity of good writing Capote was doing by this time, and really should have been relegated to post-mortem collections. The Beausoleil piece, like a few others in the collection, is pretty much just an interview transcript from his conversations with Charles Manson's cohort, but has some interesting, fairly astute comments from Beausoleil about Perry Smith and Capote's relationship with him. "Hello, Stranger" is also emblematic of other pieces here, as it reveals a growing, unsettling antipathy Capote has developed for the inhabitants of the world and his writing - an alcoholic old friend of Capote's comes to him for advice about an sexual encounter with a minor that never happened and his ensuing nervous breakdown, and Capote's foremost observations are that the guy is now thirty pounds overweight and used to have Capote write his English papers in prep school (he in turn did Capote's math problems).
The one piece that I would say could have been published by anyone outside a decrepit Truman Capote was the true-crime novella, "Handcarved Coffins." Most of it annoyingly also follows the interview/stage directions format (I guess that's what Capote was referring to when he said he wanted to transcend genre), but the plot itself is engrossing from the start. More than In Cold Blood it seems almost too implausible to happen, and unlike ICB Capote consciously makes himself a central character of this story of a renegade ranch owner-turned-serial-killer.
Overall, Music for Chameleons falls directly into the Read-It-If-You-Like-Capote category. It probably reveals more about his own (late-life) personality than any of his other work and has flashes of good stuff, but is almost laughably self-referential and self-congratulatory, especially the last piece, a silly dialogue between Capote (TC) and himself (also TC).
(At this point, John pats himself on the back profusely with one hand while typing with the other):
John Proctor: That was an excellent review, John. Plenty of pithy witticisms sprinkled over specific references make this perhaps your best yet.
JP (sighing): I dunno. Sometimes I think nobody even reads these things anyway.
JP (with a chuckle): Well of course they don't. That's the nature of book reviews, and why you haven't published anything of substance yourself yet.
JP: So why do I even write then?
JP: The more important question is: Why don't you stop writing?
(At this, JP instinctively reaches for the mouse and clicks on "Preview," then "Save")
First of all, the preface makes Capote seem like a self-involved jackass (which he by most accounts was - remember the postscript to the movie saying he never recovered from writing In Cold Blood?), but it also reveals his dislike for his own work, including In Cold Blood; he even says he went back and rewrote much of the novel, Unanswered Prayers, that ironically was never finished. About the work included in this book, he says basically two things:
1. He wants to "combine within a single form - say the short story - all he knows about every other form of writing"
2. Instead of consciously leaving himself out of his writing, "I set myself center stage, and reconstructed, in a severe, minimal manner, commonplace conversations with everyday people: the superintendent of my building, a masseur at the gym, an old school friend, [Marilyn Monroe, Robert Beausoleil, the two sides of himself - you know, everyday people]…"
So the book is divided into 3 parts, the first and third being mostly brief snapshots and anecdotes that seem kind of retrogressive to me, harking back to his early days writing about Brooklyn Heights, only now he's moved to the Upper East Side. The Marilyn Monroe piece is mostly trifling and I'm sure did no favors to her reputation, but has a clever, moderately powerful turn-of-phrase ending it. "Mojave," the only pure fiction included in the collection, is easily the worst apple in the bunch; it says a lot about the scarcity of good writing Capote was doing by this time, and really should have been relegated to post-mortem collections. The Beausoleil piece, like a few others in the collection, is pretty much just an interview transcript from his conversations with Charles Manson's cohort, but has some interesting, fairly astute comments from Beausoleil about Perry Smith and Capote's relationship with him. "Hello, Stranger" is also emblematic of other pieces here, as it reveals a growing, unsettling antipathy Capote has developed for the inhabitants of the world and his writing - an alcoholic old friend of Capote's comes to him for advice about an sexual encounter with a minor that never happened and his ensuing nervous breakdown, and Capote's foremost observations are that the guy is now thirty pounds overweight and used to have Capote write his English papers in prep school (he in turn did Capote's math problems).
The one piece that I would say could have been published by anyone outside a decrepit Truman Capote was the true-crime novella, "Handcarved Coffins." Most of it annoyingly also follows the interview/stage directions format (I guess that's what Capote was referring to when he said he wanted to transcend genre), but the plot itself is engrossing from the start. More than In Cold Blood it seems almost too implausible to happen, and unlike ICB Capote consciously makes himself a central character of this story of a renegade ranch owner-turned-serial-killer.
Overall, Music for Chameleons falls directly into the Read-It-If-You-Like-Capote category. It probably reveals more about his own (late-life) personality than any of his other work and has flashes of good stuff, but is almost laughably self-referential and self-congratulatory, especially the last piece, a silly dialogue between Capote (TC) and himself (also TC).
(At this point, John pats himself on the back profusely with one hand while typing with the other):
John Proctor: That was an excellent review, John. Plenty of pithy witticisms sprinkled over specific references make this perhaps your best yet.
JP (sighing): I dunno. Sometimes I think nobody even reads these things anyway.
JP (with a chuckle): Well of course they don't. That's the nature of book reviews, and why you haven't published anything of substance yourself yet.
JP: So why do I even write then?
JP: The more important question is: Why don't you stop writing?
(At this, JP instinctively reaches for the mouse and clicks on "Preview," then "Save")
November 23, 2025
Capote murmura al oído, con cuentos que giran como espejos: lo mismo reflejan a Marilyn que a una asesina, y en cada imagen hay ternura, vértigo y una punzada de verdad. Música para camaleones no se disfraza; brilla con la desnudez exacta de quien sabe mirar y contar. Su prosa , ligera como jazz, precisa como un bisturí, convierte cada escena en un acto de empatía radical. No hay lección ni trampa, solo la vibración sutil de lo vivido.
📚 Análisis completo en @__entre.libros__
📚 Análisis completo en @__entre.libros__
July 7, 2012
Review to follow. On a book buying trip. Whooopeeeee!
And after some nice finds, it's back to business.
Music for Chameleons: New Writing by Truman Capote Including Handcarved Coffins
Although Random House plugs Music for Chameleons as new writings by Truman Capote, when it was published in 1980, all of the pieces had appeared in the two preceding years in Capote's usual venues, "Esquire," "Interview," "McCall's," "New York Magazine," and "The New Yorker." Within four years, Capote would be dead.
The jacket photo revealed an older, perhaps more contemplative writer. There is no cigarette in his hand. As he indicated in one segment, he had quit smoking years ago.
In the final segment of the book, "Nocturnal Turnings," Capote interviews himself, looking back at his life--his fears, his faith, his faults.
And while Capote seems to have begun to contemplate his mortality, the range and depth of the writing in this anthology is breathtaking. All but one of the fourteen segments of the book are claimed to be non-fiction, or perhaps as Capote invented the form, non-fiction fiction, in these examples, short vignettes, portraits of people he knew and met, killers he interviewed in addition to Perry Smith and Dick Hickock. Only one story, "Mojave," Capote claimed as fiction, or in his own coy fashion as he said he wrote it as if it were.
Capote ranges from the mysterious, where chameleons dance to piano music played by an old woman on Martinique. Is it real or is it the influence of Absinthe laced in his tea? Fiction or non-fiction?
He reveals his humor while evading a subpoena to testify in the retrial of Bobby Beausoleil for the murder of Gary Hinman, the first of what came to be known as the Manson Family murders. He had promised what Beausoleil had told him would remain confidential.
When Beausoleil was granted a new trial, Capote was served with a subpoena. His sneaking on a plane, dressed as one of Pearl Bailey's musician's, his head pressed to her bosom as she wrapped her arm around his shoulder will leave you howling.
His meanness emerges in his portrait of Marilyn Monroe, whom he portrays her as "A Beautiful Child" who calls her competition cunts, pops pills and drinks way too much. "A Beautiful Child?" perhaps so, perhaps not.
But it is in "Handcarved Coffins" that Capote reveals his mastery in the depiction of true crime. An unknown killer has targeted nine different victims. Each has received a handcarved coffin in which the killer has placed a candid black and white photo of his intended victim. Capote is referred to investigator Jake Pepper to render his opinion of the killings and the evidence that is too scant to make an arrest. The killings are diabolical. A couple enters a car filled with rattlesnakes pumped up on amphetamines to make them even more aggressive than they are in nature. A wire stretched across the road decapitates another.
Will Pepper get his man, or not? Capote stretches out the tension at a nerve wracking pace, plummeting the reader to despair with each successful killing. This is a masterpiece. Pure and simple. Pepper and Capote put the pieces together, discovering the killer has a darkroom and prefers German cameras. Capote's interview skills are intuitive and directly on point.
However, subsequent research by London Sunday Times reporters Peter and Leni Gillman shows that no case containing the details in this short piece exist in any law enforcement file. In all probability it was based on an unsolved case of Kansas Bureau of Investigation Agent Alvin Dewy whom Capote met during his work on "In Cold Blood."
Capote was growing tired. There were no other novels. "Answered Prayers" remained unfinished.
One Christmas appeared as a short story in "The Ladies' Home Journal" in December, 1982. Then a short article "Remembering Tennessee" appeared in "Playboy Magazine." There was nothing more.
Once more I think of "Nocturnal Turnings." Capote knew he was slowing down. He knew he was tired.
For a final look at Truman Capote's last burst of creativity, this is the book to read, fiction or non-fiction.
And after some nice finds, it's back to business.
Music for Chameleons: New Writing by Truman Capote Including Handcarved Coffins
Although Random House plugs Music for Chameleons as new writings by Truman Capote, when it was published in 1980, all of the pieces had appeared in the two preceding years in Capote's usual venues, "Esquire," "Interview," "McCall's," "New York Magazine," and "The New Yorker." Within four years, Capote would be dead.
The jacket photo revealed an older, perhaps more contemplative writer. There is no cigarette in his hand. As he indicated in one segment, he had quit smoking years ago.
In the final segment of the book, "Nocturnal Turnings," Capote interviews himself, looking back at his life--his fears, his faith, his faults.
"TC: What frightens you?"
"TC: Real toads in imaginary gardens.
"TC: No, but in real life--"
"TC: I'm talking about real life."
"TC: Let me put it another way. What, of your own experiences, hae been the most frightening?"
"TC: Betrayals. Abandonments."...
"And that's when I began to believe in God again, and understand that Sook was right, that everything was His design, the old moon and the new moon, the hard rain falling, and if only I would ask Him to help me, He would."
"TC: And has He?"
"TC: Yes. More and more. But I'm not a saint yet. I'm an aloholic. I'm a drug addict. I'm homosexual. I'm a genius. Of course, I could be all four of these dubious things and still be a saint. But I shonuf ain't no saint yet, nawsuh."
And while Capote seems to have begun to contemplate his mortality, the range and depth of the writing in this anthology is breathtaking. All but one of the fourteen segments of the book are claimed to be non-fiction, or perhaps as Capote invented the form, non-fiction fiction, in these examples, short vignettes, portraits of people he knew and met, killers he interviewed in addition to Perry Smith and Dick Hickock. Only one story, "Mojave," Capote claimed as fiction, or in his own coy fashion as he said he wrote it as if it were.
Capote ranges from the mysterious, where chameleons dance to piano music played by an old woman on Martinique. Is it real or is it the influence of Absinthe laced in his tea? Fiction or non-fiction?
He reveals his humor while evading a subpoena to testify in the retrial of Bobby Beausoleil for the murder of Gary Hinman, the first of what came to be known as the Manson Family murders. He had promised what Beausoleil had told him would remain confidential.
When Beausoleil was granted a new trial, Capote was served with a subpoena. His sneaking on a plane, dressed as one of Pearl Bailey's musician's, his head pressed to her bosom as she wrapped her arm around his shoulder will leave you howling.
His meanness emerges in his portrait of Marilyn Monroe, whom he portrays her as "A Beautiful Child" who calls her competition cunts, pops pills and drinks way too much. "A Beautiful Child?" perhaps so, perhaps not.
But it is in "Handcarved Coffins" that Capote reveals his mastery in the depiction of true crime. An unknown killer has targeted nine different victims. Each has received a handcarved coffin in which the killer has placed a candid black and white photo of his intended victim. Capote is referred to investigator Jake Pepper to render his opinion of the killings and the evidence that is too scant to make an arrest. The killings are diabolical. A couple enters a car filled with rattlesnakes pumped up on amphetamines to make them even more aggressive than they are in nature. A wire stretched across the road decapitates another.
Will Pepper get his man, or not? Capote stretches out the tension at a nerve wracking pace, plummeting the reader to despair with each successful killing. This is a masterpiece. Pure and simple. Pepper and Capote put the pieces together, discovering the killer has a darkroom and prefers German cameras. Capote's interview skills are intuitive and directly on point.
However, subsequent research by London Sunday Times reporters Peter and Leni Gillman shows that no case containing the details in this short piece exist in any law enforcement file. In all probability it was based on an unsolved case of Kansas Bureau of Investigation Agent Alvin Dewy whom Capote met during his work on "In Cold Blood."
Capote was growing tired. There were no other novels. "Answered Prayers" remained unfinished.
One Christmas appeared as a short story in "The Ladies' Home Journal" in December, 1982. Then a short article "Remembering Tennessee" appeared in "Playboy Magazine." There was nothing more.
Once more I think of "Nocturnal Turnings." Capote knew he was slowing down. He knew he was tired.
"TC:...Now let's knock it off and try for some shut-eye."
TC: But first let's say a prayer. Let's say our old prayer. The one we used to say when we were real little and slept in the same bed with Sook and Queenie, with the quilts piled on top of us because the house was so big and cold.
TC: Our old prayer? Okay.
TC and TC: Now I lay me down to sleep, I pray the Lord my soul to keep. And if I should die before I wake, I pray the Lord my soul to take. Amen.
TC: Goodnight.
TC: Goodnight....
TC and TC: Zzzzzzzzzzzz."
For a final look at Truman Capote's last burst of creativity, this is the book to read, fiction or non-fiction.
January 14, 2022
This is kind of a mishmash of stories and essays … it starts with several short stories, followed by a nonfiction novella, and completed with several conversations …
I loved every story/conversation in this compilation …
I’m going to start with the last conversation included in this book … remember in high school English class where you had to write an essay interviewing yourself so you could get in touch with your inner child? Capote actually completed this exercise, and my god, it is hilarious … however, the end is touching, as he brings up Sook and Queenie … that kind of sums up the Truman Capote experience for me - how he can be so witty and sardonic, then surprise me with a moment of vulnerability …
Maybe that’s the purpose of all the writings in this book … Capote manages to capture moments of vulnerability in all the subjects of his stories/conversations … Marilyn Monroe … Jake Pepper … Bobby Beausoleil … he makes all of his subjects so beautifully human, so unexpectedly tender …
I loved every story/conversation in this compilation …
I’m going to start with the last conversation included in this book … remember in high school English class where you had to write an essay interviewing yourself so you could get in touch with your inner child? Capote actually completed this exercise, and my god, it is hilarious … however, the end is touching, as he brings up Sook and Queenie … that kind of sums up the Truman Capote experience for me - how he can be so witty and sardonic, then surprise me with a moment of vulnerability …
Maybe that’s the purpose of all the writings in this book … Capote manages to capture moments of vulnerability in all the subjects of his stories/conversations … Marilyn Monroe … Jake Pepper … Bobby Beausoleil … he makes all of his subjects so beautifully human, so unexpectedly tender …
May 2, 2019
امتیازم در حقیقت سه و نیم است
شخصاً بیشتر دوست داشتم از کاپوتی رمان بخوانم
ترجیح می دادم خاطره تابوت های دست ساز برایم تکرار شود
و ترس وجودم را فرا بگیرد
هر چند داستان ها جذاب و تو دل برو بودند
اما زود تمام می شدند
لذتشان به جان نمی نشست
و آدم را نشئه نمی کرد
سبک و لحن داستان ها هم یکسان نبود
گاهی احساس می کردم بورخس می خوانم و گاهی کارور
خوب بود ولی انتظار من را از کاپوتی براورده نمی کرد
شخصاً بیشتر دوست داشتم از کاپوتی رمان بخوانم
ترجیح می دادم خاطره تابوت های دست ساز برایم تکرار شود
و ترس وجودم را فرا بگیرد
هر چند داستان ها جذاب و تو دل برو بودند
اما زود تمام می شدند
لذتشان به جان نمی نشست
و آدم را نشئه نمی کرد
سبک و لحن داستان ها هم یکسان نبود
گاهی احساس می کردم بورخس می خوانم و گاهی کارور
خوب بود ولی انتظار من را از کاپوتی براورده نمی کرد
October 23, 2022
Music for Chamelions is Truman Capote at his most entertaining. In his preface, Capote talks about the technical challenges that he was facing with his writing. He felt that he was overwriting, and also wanted to be able to use skills he had learned as a reporter, a script writer, a fiction writer, to create an effect where the writing captured as much of true life as possible. He set himself the task of writing conversations that he had, until he developed a style, and went on to write the non-fiction novel 'Handcarved Coffins' and the short stories and interviews that are included in this book. A lot of this work has Capote as a character; some of it purports to be true, but with Capote that statement is an allegation at best. 'Handcarved Coffins' for example, was supposed to be based on a true crime, however, subsequent reviewers have been unable to find a specific case that matches the facts. If you really want to know what is true with Capote, you need to be an archeologist, digging for the facts - they're there for sure, but transformed and colourized to shape the meaning. I agree with Capote that this book contains some of his best work - from the Southern humour of 'Hospitality' where a family hosts a total stranger who was down on her luck, and let her stay until they married her off, to 'Mr Jones' that details a one in a million coincidence. The short stories are followed by 'Handcarved Coffins' (good but I thought it lost steam), and then the portraits - of Marilyn Monroe, of his cleaning lady, Mary, of Bobby Beausoleil (member of the Manson gang), of an adventure with Pearl Bailey, of an encounter with an old friend while loafing in the sun in New Orleans. These studies all have Capote as a character and his reactions provide a lens through which we see his subject. He wrote with humour, sometimes with love, and always with an overarching awareness that life can be tough, life can be cruel. In his writing, Capote said yes to the universe as it was, not as he wanted it to be. In his personal life, he was not quite so tough, as his addictions and early death suggest. In between, those two tensions, Capote found compassion, and this book exemplifies (I think) the best of Capote's output.
September 17, 2022
با توجه به کتاب قبلی کاپوتی یعنی صبحانه در تیفانی خونده بودم ، این کتابش یه کم ضعیف تر بود.توقع بیشتری داشتم ازش ولی در کل بد نبود.
کتاب از ۲ مجموعه داستان تشکیل شده اولیش مجموعه داستان موسیقی برای آفتابپرست که از داستان های موسیقی برای آفتابپرستها، آقای جونز، چراغی پس پنجره، مهماننوازی و تلألو تشکیل شده و مجموعه دوم که تشکیل شده از چهره نگاری های ترومن که تجربیاتش با برخورد با افراد مختلف رو توصیف کرده. داستان ها ساده و روانن و راحت خونده میشن.
کتاب از ۲ مجموعه داستان تشکیل شده اولیش مجموعه داستان موسیقی برای آفتابپرست که از داستان های موسیقی برای آفتابپرستها، آقای جونز، چراغی پس پنجره، مهماننوازی و تلألو تشکیل شده و مجموعه دوم که تشکیل شده از چهره نگاری های ترومن که تجربیاتش با برخورد با افراد مختلف رو توصیف کرده. داستان ها ساده و روانن و راحت خونده میشن.
April 22, 2020
Βαθμολογία: 9/10
Έκτο βιβλίο του Τρούμαν Καπότε που διαβάζω, ήταν και αυτό με τη σειρά του εξαιρετικά καλογραμμένο, ενδιαφέρον και ψυχαγωγικό. Μάλιστα, για να είμαι ακριβής, από άποψη ποιότητας και αναγνωστικής απόλαυσης, είναι κατά τη γνώμη μου μόλις ένα σκαλοπατάκι πιο κάτω από το καταπληκτικό "Εν ψυχρώ", οπότε θα βάλω και σ'αυτό το βιβλίο πέντε αστεράκια (μιας και δεν μπορώ να βάλω τεσσεράμισι). Ουσιαστικά το βιβλίο χωρίζεται σε τρία μέρη: Στο πρώτο μέρος έχουμε έξι πολύ ωραία και καλογραμμένα διηγήματα που αν μη τι άλλο αποτελούν χαρακτηριστικό δείγμα της γραφής και του τρόπου σκέψης του συγγραφέα. Άλλα μικρότερα, άλλα μεγαλύτερα, όλα με άφησαν απόλυτα ικανοποιημένο. Στο δεύτερο μέρος, που θα έλεγα ότι είναι και το βασικό πιάτο του υπέροχου αυτού μενού, είναι μια "non-fiction" νουβέλα που υποτίθεται ότι βασίζεται σε αληθινή ιστορία κατά συρροή δολοφονιών που έλαβαν χώρα σε μια μικρή πόλη κάποιας μεσοδυτικής πολιτείας, με τον Τρούμαν Καπότε να έχει ενεργή συμμετοχή στην όλη ιστορία. Τούτη η νουβέλα ουσιαστικά ακολουθεί τα χνάρια του "Εν ψυχρώ", αν και βεβαίως δεν φτάνει το βάθος και την ποιότητα του συγκεκριμένου βιβλίου, ενώ επίσης η "αληθινή" ιστορία στην οποία βασίζεται, μόνο αληθινή δεν είναι. Όπως και να'χει, πρόκειται για μια νουβέλα καθηλωτική και ατμοσφαιρική, που μέσα σε λιγότερες από εκατό σελίδες καταφέρνει να αγχώσει και να μαγέψει τους λάτρεις του είδους. Το τρίτο μέρος, εξίσου χορταστικό και απολαυστικό με τα υπόλοιπα δυο, αποτελείται από επτά συζητητικά/διαλογικά πορτρέτα, στα οποία ο Τρούμαν Καπότε, με τη λιτή και εύστοχη γραφή που τον διακρίνει, περιγράφει κάποιες συναντήσεις με επώνυμους και ανώνυμους ανθρώπους που του έκαναν μια κάποια εντύπωση. Πραγματικά, με αυτά τα "πορτρέτα" νιώθω ότι γνώρισα κάποιους ενδιαφέροντες ανθρώπους, με σάρκα και οστά. Γενικά, πρόκειται για ένα πολύ ωραίο και απολαυστικό βιβλίο, γεμάτο καλούδια κάθε είδους, με την απλή, ειλικρινή, ζεστή και γεμάτη χιούμορ και εύστοχες παρατηρήσεις γραφή του Καπότε, να βοηθάει πολύ στην εύκολη και γρήγορη ανάγνωσή του. Το προτείνω με κλειστά μάτια.
Έκτο βιβλίο του Τρούμαν Καπότε που διαβάζω, ήταν και αυτό με τη σειρά του εξαιρετικά καλογραμμένο, ενδιαφέρον και ψυχαγωγικό. Μάλιστα, για να είμαι ακριβής, από άποψη ποιότητας και αναγνωστικής απόλαυσης, είναι κατά τη γνώμη μου μόλις ένα σκαλοπατάκι πιο κάτω από το καταπληκτικό "Εν ψυχρώ", οπότε θα βάλω και σ'αυτό το βιβλίο πέντε αστεράκια (μιας και δεν μπορώ να βάλω τεσσεράμισι). Ουσιαστικά το βιβλίο χωρίζεται σε τρία μέρη: Στο πρώτο μέρος έχουμε έξι πολύ ωραία και καλογραμμένα διηγήματα που αν μη τι άλλο αποτελούν χαρακτηριστικό δείγμα της γραφής και του τρόπου σκέψης του συγγραφέα. Άλλα μικρότερα, άλλα μεγαλύτερα, όλα με άφησαν απόλυτα ικανοποιημένο. Στο δεύτερο μέρος, που θα έλεγα ότι είναι και το βασικό πιάτο του υπέροχου αυτού μενού, είναι μια "non-fiction" νουβέλα που υποτίθεται ότι βασίζεται σε αληθινή ιστορία κατά συρροή δολοφονιών που έλαβαν χώρα σε μια μικρή πόλη κάποιας μεσοδυτικής πολιτείας, με τον Τρούμαν Καπότε να έχει ενεργή συμμετοχή στην όλη ιστορία. Τούτη η νουβέλα ουσιαστικά ακολουθεί τα χνάρια του "Εν ψυχρώ", αν και βεβαίως δεν φτάνει το βάθος και την ποιότητα του συγκεκριμένου βιβλίου, ενώ επίσης η "αληθινή" ιστορία στην οποία βασίζεται, μόνο αληθινή δεν είναι. Όπως και να'χει, πρόκειται για μια νουβέλα καθηλωτική και ατμοσφαιρική, που μέσα σε λιγότερες από εκατό σελίδες καταφέρνει να αγχώσει και να μαγέψει τους λάτρεις του είδους. Το τρίτο μέρος, εξίσου χορταστικό και απολαυστικό με τα υπόλοιπα δυο, αποτελείται από επτά συζητητικά/διαλογικά πορτρέτα, στα οποία ο Τρούμαν Καπότε, με τη λιτή και εύστοχη γραφή που τον διακρίνει, περιγράφει κάποιες συναντήσεις με επώνυμους και ανώνυμους ανθρώπους που του έκαναν μια κάποια εντύπωση. Πραγματικά, με αυτά τα "πορτρέτα" νιώθω ότι γνώρισα κάποιους ενδιαφέροντες ανθρώπους, με σάρκα και οστά. Γενικά, πρόκειται για ένα πολύ ωραίο και απολαυστικό βιβλίο, γεμάτο καλούδια κάθε είδους, με την απλή, ειλικρινή, ζεστή και γεμάτη χιούμορ και εύστοχες παρατηρήσεις γραφή του Καπότε, να βοηθάει πολύ στην εύκολη και γρήγορη ανάγνωσή του. Το προτείνω με κλειστά μάτια.
April 28, 2020
نويسنده دليلي براي قصه سازي و داستان سرايي ندارد وقتي زندگي شخصي خودش و آدم هايي كه باهاشون ملاقات كرده رو ميتونه انقد زيبا در قالب اين كتاب جاي بده
چقد توضيحات كتاب درباره استاديِ بي بروبرگرد اين نويسنده درست بود
روايت ها با شرح صحنه و جزييات موقعيت شروع ميشد و بعد شرح زمان و توصيف شخصي كه خود نويسنده با نام اختصاري (ت.ك) با اون ها هم صحبت و همراه شده و توصيف دقيق و پركشش از خصوصيات اون ها و داستان هايي كه از سر گذروندن
چقد توضيحات كتاب درباره استاديِ بي بروبرگرد اين نويسنده درست بود
روايت ها با شرح صحنه و جزييات موقعيت شروع ميشد و بعد شرح زمان و توصيف شخصي كه خود نويسنده با نام اختصاري (ت.ك) با اون ها هم صحبت و همراه شده و توصيف دقيق و پركشش از خصوصيات اون ها و داستان هايي كه از سر گذروندن
May 18, 2018
این کتاب رو چند ماه پیش همراه تابوتهای دستساز خریدم. اونیکی رو همون موقع خوندم و دوستش داشتم؛ اما نه زیاد! موقعِ خرید، نمیدونستم «موسیقی برای آفتابپرستها« مجموعه داستانه؛ وگرنه احتمالاً نمیخریدمش. اما وقتی کتاب رو خوندم، خیلی خوشحال شدم از خوندنش. شاید چون این کتاب با فرضی که از داستان کوتاه داشتم، کمی فرق داره. یه جورایی توصیف یکسری اتفاقاتیه که برای خودِ نویسنده افتاده یا قصۀ ملاقاتش با بعضی آدماس. یعنی خیلی شخصیه و منم عموماً از نوشتههای اینطور شخصی خوشم میاد.
این کتاب رو به مراتب از «تابوتهای دستساز» بیشتر دوست داشتم؛ خصوصاً بخش آخر که یهجور مکالمه و مصاحبهس بین خودش و خودش!
پینوشت:
اگر من یک روز نویسنده شدم یا یه چیزی _هر چند مختصر_ نوشتم، مطمئناً ترومن کاپوتی در اون تأثیر داشته!
این کتاب رو به مراتب از «تابوتهای دستساز» بیشتر دوست داشتم؛ خصوصاً بخش آخر که یهجور مکالمه و مصاحبهس بین خودش و خودش!
پینوشت:
اگر من یک روز نویسنده شدم یا یه چیزی _هر چند مختصر_ نوشتم، مطمئناً ترومن کاپوتی در اون تأثیر داشته!
February 15, 2023
"Междувременно аз съм си пак тук, сам в мрака на моята лудост, сам с моята колода карти — и, разбира се, с камшика, даден ми от бога."
April 4, 2017
A book of extraordinary grace, incisiveness and honesty which further bolsters my impression that Capote remains one of the most important, original and underestimated writers of his era. Fuck his artificial image as a catty, trivial, morbid starfucker, and study the work: dark, devastating, morally decent work shot through with his actual character, the shadows of an encroaching darkness creeping across the sun-dappled idyll of his New Orleans childhood. Even fans tend to lean on a popular narrative – pushed in last decade’s cinematic biopics – that sees him in terminal decline after the trial of In Cold Blood, but while it’s true that he degenerated into substance abuse (an affliction dealt with in breathtaking fashion in the last of these 14 pieces), and that with it his work-rate slowed, this book may well be his creative zenith.
In Bob Dylan’s Chronicles, he explains (entirely preposterously) that in the late ‘80s he found a new way to sing: a mathematical formula that has enabled his voice to endure his Never Ending Tour (please post your punchlines below). Here, Capote does much the same, denigrating his entire back catalogue as he seeks to articulate exactly why, and how, he’s developed the new style premiered in this book. Unlike Dylan, who is talking through his silly cowboy hat, Capote is sincere. His style here is so clean, precise and economical, yet to formally inventive, that it takes the breath away. Every decision he makes, from delayed gratification, to leading with dialogue, to drifting into remembrance and reminiscence, seems right, and his evocation of emotion, of nature, and of character is remarkably specific and so uniquely powerful.
There are six short stories and seven conversational portraits, alongside a non-fiction (?) centrepiece about a serial killer, and each is remarkable in one way or another. Perhaps my favourite piece is Dazzle, a multi-layered story with a time-shifting perspective that’s about love, fear and guilt, as Capote relives the story of his paternal grandfather, a fortune teller and two terrible secrets: one comic, the other tragic. It is flecked with wonder, touched by horror, and redolent with an unstudied compassion for his younger self, before a climactic sucker-punch that knocked me sideways. But it’s just one masterpiece among many. The other short stories are rich in irony, but unwaveringly sincere, as they deal with self-loathing, denial and the secrets (or unspoken truths) that dominate the book, while his egalitarian ‘portraits’ take in a weed-smoking cleaner, Marilyn Monroe, pastoral novelist Willa Cather and amoral Manson acolyte Bobby Beausoleil: though you could class the first of those as ‘hilarious’ and the last as ‘chilling’, that’s to reduce them from the multi-faceted, playful, probing, touching, humane and sad works that they are. The only piece that doesn't quite work for me, at least not unequivocally, is Handcarved Coffins, the lengthy true crime chapter at the book's centre. It has passages of great insight – on sexuality, obsession, delusion – but at times its language is oddly forced, and ultimately I'm not sure exactly what the point is that Capote is constantly circling and yet never quite landing upon.
It makes sense, perhaps, that when the book does malfunction, it's in both style and content, for it's the balancing of form, viewpoint and revelation, both overt and within the reader, that is the book's great strength. Music for Chameleons is beautifully-written, but even Capote’s admirers often stop right there, and it’s much more than that. His swaggering, elegant, stylistic brilliance – even as a supposed has-been, with a pickled liver and a nose stuffed with coke – is really a way of packing as much wit, pathos and meaning into each line as possible. His style is not an end in itself, it's the way he carries truth to the reader.
In Bob Dylan’s Chronicles, he explains (entirely preposterously) that in the late ‘80s he found a new way to sing: a mathematical formula that has enabled his voice to endure his Never Ending Tour (please post your punchlines below). Here, Capote does much the same, denigrating his entire back catalogue as he seeks to articulate exactly why, and how, he’s developed the new style premiered in this book. Unlike Dylan, who is talking through his silly cowboy hat, Capote is sincere. His style here is so clean, precise and economical, yet to formally inventive, that it takes the breath away. Every decision he makes, from delayed gratification, to leading with dialogue, to drifting into remembrance and reminiscence, seems right, and his evocation of emotion, of nature, and of character is remarkably specific and so uniquely powerful.
There are six short stories and seven conversational portraits, alongside a non-fiction (?) centrepiece about a serial killer, and each is remarkable in one way or another. Perhaps my favourite piece is Dazzle, a multi-layered story with a time-shifting perspective that’s about love, fear and guilt, as Capote relives the story of his paternal grandfather, a fortune teller and two terrible secrets: one comic, the other tragic. It is flecked with wonder, touched by horror, and redolent with an unstudied compassion for his younger self, before a climactic sucker-punch that knocked me sideways. But it’s just one masterpiece among many. The other short stories are rich in irony, but unwaveringly sincere, as they deal with self-loathing, denial and the secrets (or unspoken truths) that dominate the book, while his egalitarian ‘portraits’ take in a weed-smoking cleaner, Marilyn Monroe, pastoral novelist Willa Cather and amoral Manson acolyte Bobby Beausoleil: though you could class the first of those as ‘hilarious’ and the last as ‘chilling’, that’s to reduce them from the multi-faceted, playful, probing, touching, humane and sad works that they are. The only piece that doesn't quite work for me, at least not unequivocally, is Handcarved Coffins, the lengthy true crime chapter at the book's centre. It has passages of great insight – on sexuality, obsession, delusion – but at times its language is oddly forced, and ultimately I'm not sure exactly what the point is that Capote is constantly circling and yet never quite landing upon.
It makes sense, perhaps, that when the book does malfunction, it's in both style and content, for it's the balancing of form, viewpoint and revelation, both overt and within the reader, that is the book's great strength. Music for Chameleons is beautifully-written, but even Capote’s admirers often stop right there, and it’s much more than that. His swaggering, elegant, stylistic brilliance – even as a supposed has-been, with a pickled liver and a nose stuffed with coke – is really a way of packing as much wit, pathos and meaning into each line as possible. His style is not an end in itself, it's the way he carries truth to the reader.
February 26, 2017
تصمیمگیری برای امتیاز دادن به این کتاب برام خیلی سخته. نمیدونم شاید به خاطر فرم و ساختار داستان کوتاهه که راضی به 5 دادن نمیشم. اما خب تا زمانی که گودریدز "نیم" رو به سیستم امتیازدهیش اضافه نکرده به همین 5 ستاره رضایت میدم. چرا که تا به حال به این اندازه کتابی رو دوست نداشتم و از خوندش لذت نبردم. خب چرا بردم ولی این یکی عجیب بهم چسبید. از یادداشت نویسنده بگیر که چطور از پشتکار روزافزونش برای تمرین نویسندگی گفته بود تا خود داستانها و چهرهنگاریها. یادداشت کاپوتی سند ای بود بر این حرف که چطور بعضی افراد "نابغه" رو به غلط معنی میکنند و فکر میکنند بدون تمرین دادنِ ذهن، باید پیور گُلد (طلای ناب) روی کاغذ بیارند و به خیال خودشون هنر، خام و پخته نداره و شاید حتی برای خام بودنش ارزش بیشتری قائل بشن. آخ که چقدر در اشتباهند.
از ترومن کاپوتی هنوز کتابی به غیر از این نخوندم ولی مطمئنم رمانش هم به همین اندازه روون و خوشخوان خواهد بود، اما قطعا متفاوتتر؛ چرا که تلاشش برای تعریف نشدن فقط در یک قالب و ساختار رو عمیقا درک میکنم و میستایم. در این کتاب که معرکه کار کرده بود. باعث شد من دوباره به این موضوع توجه کنم که اگر واقعا توجه کنیم، شاهد جذابترین تئاترها، سناریوها و داستانهایی میشیم که توسط همین شخصیتهای معمولی و گاها عجیب زندگی واقعی اجرا میشن؛ داستانهایی از زندگی که با تمام احساس و شور و تأثیرات مقابلش روایت میشن و تنها منتظر کشف و ثبت شدن هستند.
هنوز دقیق نمیدونم که آیا داستانهای این کتاب فیکشن بودن یا نان-فیکشن؟ اما فکر میکنم با توجه به توضیح خود کاپوتی به نان-فیکشن نزدیکتر بودن. هر چه که بودن عالی بودن؛ خلاصه و کامل؛ بدون تفصیلهای طولانی و خستهکننده اما نه آنقدر هم متراکم که بگیم از اون ور بوم افتاده باشه. همهچیز به اندازه، به جا و درست سر جای خودش بود. نه با همه داستانها اما با بیشترشون ارتباط زیادی برقرار کردم و به اصطلاحی خرکیف شدم:)) و میتونم بگم که عاشق این نابغه معتاد الکی شدم.
از ترومن کاپوتی هنوز کتابی به غیر از این نخوندم ولی مطمئنم رمانش هم به همین اندازه روون و خوشخوان خواهد بود، اما قطعا متفاوتتر؛ چرا که تلاشش برای تعریف نشدن فقط در یک قالب و ساختار رو عمیقا درک میکنم و میستایم. در این کتاب که معرکه کار کرده بود. باعث شد من دوباره به این موضوع توجه کنم که اگر واقعا توجه کنیم، شاهد جذابترین تئاترها، سناریوها و داستانهایی میشیم که توسط همین شخصیتهای معمولی و گاها عجیب زندگی واقعی اجرا میشن؛ داستانهایی از زندگی که با تمام احساس و شور و تأثیرات مقابلش روایت میشن و تنها منتظر کشف و ثبت شدن هستند.
هنوز دقیق نمیدونم که آیا داستانهای این کتاب فیکشن بودن یا نان-فیکشن؟ اما فکر میکنم با توجه به توضیح خود کاپوتی به نان-فیکشن نزدیکتر بودن. هر چه که بودن عالی بودن؛ خلاصه و کامل؛ بدون تفصیلهای طولانی و خستهکننده اما نه آنقدر هم متراکم که بگیم از اون ور بوم افتاده باشه. همهچیز به اندازه، به جا و درست سر جای خودش بود. نه با همه داستانها اما با بیشترشون ارتباط زیادی برقرار کردم و به اصطلاحی خرکیف شدم:)) و میتونم بگم که عاشق این نابغه معتاد الکی شدم.
March 24, 2018
کتاب، تشکیل شده از یک سری روایت اول شخص بدون داستان پرفراز و نشیب. خود کاپوتی فکر میکرد این سبکِ تازهاش چکیدهتر است و بهتر، اما بنظر من این داستانهای کوتاه (اگر حتا بشود چنین خطابشان کرد) بیسر و ته هستند؛ ولی ارزشمند. از این جهت که دقت کردن و محتوا بیرون کشیدن از صحبتهای روزمره را یادت میدهند.
به گفتهی مقدمهی مترجم، کاپوتی زندگی پرماجرایی داشته و همین خمیرمایهی آثارش شده. ولی برای همهی انسانها اتفاقات زیادی میافتد، این ماییم که با نوع نگاهمان آنها را «حادثه» تلقی میکنیم یا نمیکنیم. کاپوتی چنین نگاهی را آموزش میدهد.
ت.ک.: دوستت دارم.
ت.ک.: من هم دوستت دارم.
ت.ک.: بهتره داشته باشی. چون دقیق که نگاه کنی، تنها چیزی که ما داریم همدیگهست. فقط. تا پای گور. فاجعهست، نیست؟
سال 2005 بنِت میلر فیلمی ساخت به نام «کاپوتی». تصویری که من از کاپوتیِ روای داشتم تماما متاثر از آن فیلم بود. فیلمی به شدت خوب، دربارهی نوشته شدن رمان معروف کاپوتی -در کمال خونسردی- .
به گفتهی مقدمهی مترجم، کاپوتی زندگی پرماجرایی داشته و همین خمیرمایهی آثارش شده. ولی برای همهی انسانها اتفاقات زیادی میافتد، این ماییم که با نوع نگاهمان آنها را «حادثه» تلقی میکنیم یا نمیکنیم. کاپوتی چنین نگاهی را آموزش میدهد.
ت.ک.: دوستت دارم.
ت.ک.: من هم دوستت دارم.
ت.ک.: بهتره داشته باشی. چون دقیق که نگاه کنی، تنها چیزی که ما داریم همدیگهست. فقط. تا پای گور. فاجعهست، نیست؟
سال 2005 بنِت میلر فیلمی ساخت به نام «کاپوتی». تصویری که من از کاپوتیِ روای داشتم تماما متاثر از آن فیلم بود. فیلمی به شدت خوب، دربارهی نوشته شدن رمان معروف کاپوتی -در کمال خونسردی- .
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