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TOO BRIEF A TREAT

THE LETTERS OF TRUMAN CAPOTE

Fluff, clutter, and flashes of insight into an enfant terrible of American literature.

The flamboyant author’s collected correspondence brings him back to life in multiple roles, from teenage gadabout to ascendant literary star to conniving dipso burnout.

The unedited, spontaneous Capote (1924–84) we find here is a different creature from the meticulous craftsman who wrote, among other carefully honed works, In Cold Blood, the 1967 genre-bending masterpiece that fused journalism with a novel’s emotional impact and what he called “the precision of poetry.” In his letters, edited by biographer Clarke (Capote, 1988, etc.), he proffers heart and soul with raucous wit to a bevy of friends and fellow artists, as well as influential acquaintances; his affections gush among misspellings and jangled syntax. He disdains to veil his homosexuality, and he reveals early on a predilection for gossip laced with aphorism. This kind of literary cheap shot later led to rejection by the New York socialites he had so diligently courted for decades; they dumped him flat after a 1965 excerpt in Esquire of his final novel, Answered Prayers, a piece full of thinly disguised portraits of real people. Capote pens his missives from an endless variety of engaging venues—Portofino, a Sicilian villa, Katherine Graham’s yacht—but the years darken his outlook. “I loathe writing for films,” he confesses to one of his editors in 1953. “The fact that it is undermining is no mere myth.” To an aspiring writer he notes, “It may take 50 to 100 stories before style and subject and technique suddenly come together … like learning to swim.” The toll taken by the massive effort to produce In Cold Blood, from years of interviews with the killers to the wait for an execution to seal the final chapter, comes across poignantly in a letter to photographer Cecil Beaton: “At the moment feel only bereft,” he writes. “But grateful. Never again.”

Fluff, clutter, and flashes of insight into an enfant terrible of American literature.

Pub Date: Sept. 28, 2004

ISBN: 0-375-50133-9

Page Count: 400

Publisher: Random House

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2004

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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