Portraits and Observations: The Essays of Truman Capote

Overview

Perhaps no twentieth century writer was so observant and elegant a chronicler of his times as Truman Capote. Whether he was profiling the rich and famous or creating indelible word-pictures of events and places near and far, Capote’s eye for detail and dazzling style made his reportage and commentary undeniable triumphs of the form.

Portraits and Observations is the first volume devoted solely to all the essays ever published by this most beloved of writers. From his travel ...

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Overview

Perhaps no twentieth century writer was so observant and elegant a chronicler of his times as Truman Capote. Whether he was profiling the rich and famous or creating indelible word-pictures of events and places near and far, Capote’s eye for detail and dazzling style made his reportage and commentary undeniable triumphs of the form.

Portraits and Observations is the first volume devoted solely to all the essays ever published by this most beloved of writers. From his travel sketches of Brooklyn, New Orleans, and Hollywood, written when he was twenty-two, to meditations about fame, fortune, and the writer’s art at the peak of his career, to the brief works penned during the isolated denouement of his life, these essays provide an essential window into mid-twentieth-century America as offered by one of its canniest observers. Included are such celebrated masterpieces of narrative nonfiction as “The Muses Are Heard” and the short nonfiction novel “Handcarved Coffins,” as well as many long-out-of-print essays, including portraits of Isak Dinesen, Mae West, Marcel Duchamp, Humphrey Bogart, and Marilyn Monroe.

Among the highlights are “Ghosts in Sunlight: The Filming of In Cold Blood, “Preface to Music for Chameleons, in which Capote candidly recounts the highs and lows of his long career, and a playful self-portrait in the form of an imaginary self-interview. The book concludes with the author’s last written words, composed the day before his death in 1984, the recently discovered
“Remembering Willa Cather,” Capote’s touching recollection of his encounter with the author when he was a young man at the dawn of his career.

Portraits and Observations puts on display the full spectrum of Truman Capote’s brilliance. Certainly, Capote was, as Somerset Maugham famously called him, “a stylist of the first quality.” But as the pieces gathered here remind us, he was also an artist of remarkable substance.

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Editorial Reviews

Michael Dirda
It's a wonderful volume on several counts. First, Portraits and Observations contains all of Capote's nonfiction (except In Cold Blood). Second, it's of a handy size, substantial and inviting without seeming magisterial and sepulchral. Third, nearly every page can be read with real pleasure, whether Capote is describing New Orleans or Brooklyn, whether he is profiling the fatuous Marlon Brando or his own high-spirited cleaning lady. Fourth, those who appreciate the music and cadence of a sentence, or relish a well-turned simile, will find much to enjoy and learn from in these crafty, intricately structured essays. Fifth, despite his real zest for high society, Capote is clearly a democratic bard, drawn as much to the glamour of a derelict washerwoman as to that of a Hollywood superstar. He is, in this regard, an heir to his fellow New Yorker writer, that chronicler of metropolitan life, Joseph Mitchell…No matter what his subject, Truman Capote's canny, careful art gives it warm and breathing life.
—The Washington Post
Publishers Weekly

This volume of collected essays, many out of print since their original publication, is both a long overdue and welcome addition to the Capote revival. It's arranged chronologically-from a short 1946 piece on New Orleans, written when Capote was 22, to a brief appreciation of Willa Cather he wrote the day before he died in 1984. The 42 pieces range from one-page portraits of public figures such as Ezra Pound and Coco Chanel to the 104-page 1956 "The Muses Are Heard," a masterful journalistic account, first printed in the New Yorker, of an American opera company's tour of Porgy and Bessin the U.S.S.R. The collection contains some great writing-his 1970s "Handcarved Coffins," an account of a Midwestern murder that recalls In Cold Bloodand can be savored for its beautifully nuanced balance of empathy and emotional horror. Many of the pieces, however, such as a 1974 sketch of Elizabeth Taylor written for Ladies' Home Journal, feel "occasional" and off-the-cuff. While integral to Capote and his evolution as a writer, these pieces do not constitute his best work. Still, the volume's completeness will recommend it to fans as well as anyone seriously interested in mid-20th-century American literature. (Nov. 20)

Copyright 2007 Reed Business Information
Library Journal

Long overdue, this work collects all of Capote's (1924-84) published short nonfiction. The featured works cover the artist's interests in travel, celebrities, the arts-both visual and literary-crimes of passion, and himself (one of the wittiest articles is a self-portrait in the form of a Q&A). Place-always a favorite topic of Capote's-is represented by vignettes about his childhood in Alabama and New Orleans, his travels abroad, his work in Hollywood, and why he considered New York "home." The earliest sketches were written around the time of the author's 22nd birthday; the last, the day before his death. Following the 50th-anniversary edition of Capote's A Christmas Memory, this collection offers the highest quality of writing from a genuine American stylist. Recommended for all academic and public libraries. [See Prepub Alert, LJ7/07.]
—Pam Kingsbury

Kirkus Reviews
"I'd never known anyone who wrote," Capote once remarked of his small-town Southern childhood, the start of many a story. "Indeed, I knew few people who read."He has been dead for nearly a quarter of a century, and Capote would be chagrined to find that, yes, few people read, and fewer read him now than in his heyday, despite two recent films devoted to his life circa In Cold Blood. This well-made selection of essays, excerpts and interviews memorializes the Capote who was at once more and less than the careerist literary journalist of that era-the bon vivant who fed himself baked potatoes stuffed with caviar; the haunted romantic who declared that the most beautiful word and the most dangerous word in English were one and the same: love. He was also the gossip, social butterfly and hanger-on who did not like actors (of John Gielgud: "all his brains are in his voice"; of Marlon Brando: "No actor . . . has transported intellectual falsity to higher levels of hilarious pretension") or politicians except, strangely, Ronald Reagan and Adlai Stevenson, but who always managed to be around actors and politicians. Capote is largely remembered today as a personality, a celebrity and Tonight Show fixture, but he was a brilliant writer first and always. This anthology gathers many pieces that stand up well against anyone's work, as with his description of a New York heat wave or of the tony-crowd, pre-jetset life on a Mediterranean island ("Ischia was no place for the rush of hours, islands never are"). The best parts find Capote at his most relaxed, inclined to make fun of his many peculiarities, especially when they butt up against others' eccentricities. Capote's account of a chicken dinner witha famed artist gone awry is one of the funniest pieces in the culinary literature and a pleasure in any context. Capote's about due for a revival. This is the sampler to spark it.
From the Publisher
“A must-have treasure for Capote fans . . . These are delicious, dramatic, and tender nonfiction portraits and tales.”
–NPR’s Morning Edition

“A wonderful volume . . . Nearly every page can be read with real pleasure. . . . No matter what his subject, [Capote’s] canny, careful art gives it warm and breathing life”  
–The Washington Post Book World

“Every piece is a treasure. . . . Pages and pages of remarkably evocative, careful and well-observed prose [delineate,] in a measured and elegant manner, one of the most remarkable American literary lives of the twentieth century.”
–Jane Smiley, Los Angeles Times Book Review

The Barnes & Noble Review
In addition to his other notorious addictions, for much of his life Truman Capote was a raging and exacting workaholic, which explains the tremendous output in varying forms included in Portraits and Observations: The Essays of Truman Capote. One of the few American writers to tackle short and long fiction, nonfiction, plays, film scripts, and reportage, Capote in this volume shows himself to be a hungry and yet tastefully selective observer of human triumphs and foibles. Included here are early impressions of places like New York and Hollywood and a fond but unsentimental reminiscence of his hometown of New Orleans ("no more charming than any other Southern city.... The main portion...is made up of spiritual bottomland"); portraits of some of the most famous actors of his time, such as Brando, Bogart, and Elizabeth Taylor, even though "the trouble with most actors...is that they are dumb"; and intermittent self-observations, as in the mock interview with himself in which he remarks that if he hadn't been a writer he "wouldn't have minded being kept, but no one has ever wanted to keep me -- not more than a week or so." For such a flamboyant figure, Capote's touch as a writer was light and often subtle, and despite his sad chemical decline, he proves himself here to have had moments of great clarity nearly to the end. --Janet Steen
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Product Details

  • ISBN-13: 9780812978919
  • Publisher: Random House Publishing Group
  • Publication date: 11/11/2008
  • Series: Modern Library Paperbacks Series
  • Edition description: Reprint
  • Pages: 528
  • Sales rank: 1,365,530
  • Product dimensions: 5.20 (w) x 7.90 (h) x 1.30 (d)

Meet the Author

Truman Capote was born in New Orleans on September 30, 1924. He rose to international prominence in 1948 with the publication of his debut novel, Other Voices, Other Rooms. His other works of fiction include Breakfast at Tiffany’s, A Tree of Night, The Grass Harp, and Summer Crossing, the author’s long-lost first novel, which was rediscovered in 2004 and published by Random House in 2005. His nonfiction novel In Cold Blood is widely considered one of the greatest books of the twentieth century. Capote twice won the O. Henry Memorial Short Story Prize and was a member of the National Institute of Arts and Letters. He died on August 25, 1984, shortly before his sixtieth birthday.

Biography

Truman Capote was a native of New Orleans, where he was born on September 30, 1924. His first novel, Other Voices, Other Rooms, was an international literary success when first published in 1948, and accorded the author a prominent place among the writers of America's postwar generation. He sustained this position subsequently with short-story collections (A Tree of Night, among others), novels and novellas (The Grass Harp and Breakfast at Tiffany's), some of the best travel writing of our time (Local Color), profiles and reportage that appeared originally in The New Yorker (The Duke in His Domain and The Muses Are Heard), a true-crime masterpiece (In Cold Blood), several short memoirs about his childhood in the South (A Christmas Memory, The Thanksgiving Visitor, and One Christmas), two plays (The Grass Harp and House of Flowers and two films (Beat the Devil and The Innocents).

Mr. Capote twice won the O.Henry Memorial Short Story Prize and was a member of the National Institute of Arts and Letters. He died in August 1984, shortly before his sixtieth birthday.

Author biography courtesy of Random House, Inc.

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    1. Date of Birth:
      September 30, 1924
    2. Place of Birth:
      New Orleans, Louisiana
    1. Date of Death:
      August 25, 1984
    2. Place of Death:
      Los Angeles, California
    1. Education:
      Trinity School and St. John's Academy in New York City and Greenwich High School in Connecticut

Read an Excerpt

Chapter 1
NEW ORLEANS (1946)

In the courtyard there was an angel of black stone, and its angel head rose above giant elephant leaves; the stark glass angel eyes, bright as the bleached blue of sailor eyes, stared upward. One observed the angel from an intricate green balcony—mine, this balcony, for I lived beyond in three old white rooms, rooms with elaborate wedding-cake ceilings, wide sliding doors, tall French windows. On warm evenings, with these windows open, conversation was pleasant there, tuneful, for wind rustled the interior like fan-breeze made by ancient ladies. And on such warm evenings the town is quiet. Only voices: family talk weaving on an ivy-curtained porch; a barefoot woman humming as she rocks a sidewalk chair, lulling to sleep a baby she nurses quite publicly; the complaining foreign tongue of an irritated lady who, sitting on her balcony, plucks a fryer, the loosened feathers floating from her hands, slipping into air, sliding lazily downward. One morning—it was December, I think, a cold Sunday with a sad gray sun—I went up through the Quarter to the old market, where at that time of year there are exquisite winter fruits, sweet satsumas, twenty cents a dozen, and winter flowers, Christmas poinsettia and snow japonica. New Orleans streets have long, lonesome perspectives; in empty hours their atmosphere is like Chirico, and things innocent, ordinarily (a face behind the slanted light of shutters, nuns moving in the distance, a fat dark arm lolling lopsidedly out some window, a lonely black boy squatting in an alley, blowing soap bubbles and watching sadly as they rise to burst), acquire qualities of violence. Now, on that morning, I stopped still in the middle of a block, for I’d caught out of the corner of my eye a tunnel-passage, an overgrown courtyard. A crazy-looking white hound stood stiffly in the green fern light shining at the tunnel’s end, and compulsively I went toward it. Inside there was a fountain; water spilled delicately from a monkey-statue’s bronze mouth and made on pool pebbles desolate bell-like sounds. He was hanging from a willow, a bandit-faced man with kinky platinum hair; he hung so limply, like the willow itself. There was terror in that silent suffocated garden. Closed windows looked on blindly; snail tracks glittered silver on elephant ears, nothing moved except his shadow. It swung a little, back and forth, yet there was no wind. A rhinestone ring he wore winked in the sun, and on his arm was tattooed a name, “Francy.” The hound lowered its head to drink in the fountain, and I ran. Francy—was it for her he’d killed himself? I do not know. N.O. is a secret place. My rock angel’s glass eyes were like sundials, for they told, by the amount of light focused on them, time: white at noon, they grew gradually dimmer, dark at dusk, black—nightfall eyes in a nightfall head. The torn lips of golden-haired girls leer luridly on faded leaning house fronts: Drink Dr. Nutt, Dr. Pepper, Nehi, Grapeade, 7-Up, Koke, Coca-Cola. N.O., like every Southern town, is a city of soft-drink signs; the streets of forlorn neighborhoods are paved with Coca-Cola caps, and after rain, they glint in the dust like lost dimes. Posters peel away, lie mangled until storm wind blows them along the street, like desert sage—and there are those who think them beautiful; there are those who paper their walls with Dr. Nutt and Dr. Pepper, with Coca-Cola beauties who, smiling above tenement beds, are night guardians and saints of the morning. Signs everywhere, chalked, printed, painted: Madame Ortega—Readings, Love-potions, Magic Literature, C Me; If You Haven’t Anything To Do . . . Don’t Do It Here; Are You Ready To Meet Your Maker?; B Ware, Bad Dog; Pity The Poor Little Orphans; I Am A Deaf & Dumb Widow With 2 Mouths To Feed; Attention; Blue Wing Singers At Our Church Tonight (signed) The Reverend. There was once this notice on a door in the Irish Channel district, “Come In And See Where Jesus Stood.” “And so?” said a woman who answered when I rang the bell. “I’d like to see where Jesus stood,” I told her, and for a moment she looked blank; her face, cut in razorlike lines, was marshmallow-white; she had no eyebrows, no lashes, and she wore a calico kimono. “You too little, honey,” she said, a jerky laugh bouncing her breasts, “you too damn little for to see where Jesus stood.” In my neighborhood there was a certain café no fun whatever, for it was the emptiest café around N.O., a regular funeral place. The proprietress, Mrs. Morris Otto Kunze, did not, however, seem to mind; she sat all day behind her bar, cooling herself with a palmetto fan, and seldom stirred except to swat flies. Now glued over an old cracked mirror backing the bar were seven little signs all alike: Don’t Worry About Life . . . You’ll Never Get Out Of It Alive. July 3. An “at home” card last week from Miss Y., so I made a call this afternoon. She is delightful in her archaic way, amusing, too, though not by intent. The first time we met, I thought: Edna May Oliver; and there is a resemblance most certainly. Miss Y. speaks in premediated tones but what she says is haphazard, and her sherry-colored eyes are forever searching the surroundings. Her posture is military, and she carries a man’s Malacca cane, one of her legs being shorter than the other, a condition which gives her walk a penguinlike lilt. “It made me unhappy when I was your age; yes, I must say it did, for Papa had to squire me to all the balls, and there we sat on such pretty little gold chairs, and there we sat. None of the gentlemen ever asked Miss Y. to dance, indeed no, though a young man from Baltimore, a Mr. Jones, came here one winter, and gracious!—poor Mr. Jones—fell off a ladder, you know—broke his neck—died instantly.” My interest in Miss Y. is rather clinical, and I am not, I embarrassedly confess, quite the friend she believes, for one cannot feel close to Miss Y.: she is too much a fairy tale, someone real—and improbable. She is like the piano in her parlor—elegant, but a little out of tune. Her house, old even for N.O., is guarded by a black broken iron fence; it is a poor neighborhood she lives in, one sprayed with room-for-rent signs, gasoline stations, jukebox cafés. And yet, in the days when her family first lived here—that, of course, was long ago—there was in all N.O. no finer place. The house, smothered by slanting trees, has a graying exterior; but inside, the fantasy of Miss Y.’s heritage is everywhere visible: the tapping of her cane as she descends birdwing stairs trembles crystal; her face, a heart of wrinkled silk, reflects fumelike on ceiling-high mirrors; she lowers herself (notice, as this happens, how carefully she preserves the comfort of her bones) into father’s father’s father’s chair, a wickedly severe receptacle with lion-head hand-rests. She is beautiful here in the cool dark of her house, and safe. These are the walls, the fence, the furniture of her childhood. “Some people are born to be old; I, for instance, was an atrocious child lacking any quality whatever. But I like being old. It makes me feel somehow more”—she paused, indicated with a gesture the dim parlor—“more suitable.” Miss Y. does not believe in the world beyond N.O.; at times her insularity results, as it did today, in rather chilling remarks. I had mentioned a recent trip to New York, whereupon she, arching an eyebrow, replied gently, “Oh? And how are things in the country?” 1. Why is it, I wonder, that all N.O. cabdrivers sound as though they were imported from Brooklyn? 2. One hears so much about food here, and it is probably true that such restaurants as Arnaud’s and Kolb’s are the best in America. There is an attractive, lazy atmosphere about these restaurants: the slow-wheeling fans, the enormous tables and lack of crowding, the silence, the casual but expert waiters who all look as though they were sons of the management. A friend of mine, discussing N.O. and New York, once pointed out that comparable meals in the East, aside from being considerably more expensive, would arrive elaborate with some chef’s mannerisms, with all kinds of froufrou and false accessories. Like most good things, the quality of N.O. cookery derived, he thought, from its essential simplicity. 3. I am more or less disgusted by that persistent phrase “old charm.” You will find it, I suppose, in the architecture here, and in the antique shops (where it rightly belongs), or in the minglings of dialect one hears around the French Market. But N.O. is no more charming than any other Southern city—less so, in fact, for it is the largest. The main portion of this city is made up of spiritual bottomland, streets and sections rather outside the tourist belt. (From a letter to R.R.) There are new people in the apartment below, the third tenants in the last year; a transient place, this Quarter, hello and good-bye. A real bona-fide scoundrel lived there when I first came. He was unscrupulous, unclean and crooked—a kind of dissipated satyr. Mr. Buddy, the one-man band. More than likely you have seen him—not here of course, but in some other city, for he keeps on the move, he and his old banjo, drum, harmonica. I used to come across him banging away on various street corners, a gang of loafers gathered round. Realizing he was my neighbor, these meetings always gave me rather a turn. Now, to tell the truth, he was not a bad musician—an extraordinary one, in fact, when, late of an afternoon, and for his own pleasure, he sang to his guitar, sang ghostly ballads in a grieving whiskey voice: how terrible it was for those in love. “Hey, boy, you! You up there . . .” I was you, for he never knew my name, and never showed much interest in finding it out. “Come on down and help me kill a couple.” His balcony, smaller than mine, was screened with sweet-smelling wisteria; as there was no furniture to speak of, we would sit on the floor in the green shade, drinking a brand of gin close kin to rubbing alcohol, and he would finger his guitar, its steady plaintive whine emphasizing the deep roll of his voice. “Been all over, been in and out, all around; sixty-five, and any woman takes up with me ain’t got no use for nobody else; yessir, had myself a lota wives and a lota kids, but christamighty if I know what come of any of ’em—and don’t give a hoot in hell—’cept maybe about Rhonda Kay. There was a woman, man, sweet as swamp honey, and was she hot on me! On fire all the time, and her married to a Baptist preacher, too, and her got four kids—five, countin’ mine. Always kinda wondered what it was—boy or girl—boy, I spec. I always give ’em boys . . . Now that’s all a long time ago, and it happened in Memphis, Tennessee. Yessir, been everywhere, been to the penitentiary, been in big fine houses like the Rockefellers’ houses, been in and out, been all around.” And he could carry on this way until moonrise, his voice growing froggy, his words locking together to make a chant. His face, stained and wrinkled, had a certain deceptive kindness, a childish twinkle, but his eyes slanted in an Oriental manner, and he kept his fingernails long, knife-sharp and polished as a Chinaman’s. “Good for scratching, and handy in a fight, too.” He always wore a kind of costume: black trousers, engine-red socks, tennis shoes with the toes slit for comfort, a morning coat, a gray velvet waistcoat which, he said, had belonged to his ancestor Benjamin Franklin, and a beret studded with Vote for Roosevelt buttons. And there is no getting around it—he did have a good many lady friends—a different one each week, to be sure, but there was hardly ever a time when some woman wasn’t cooking his meals; and on those occasions when I came to visit he would invariably, and in a most courtly fashion, say, “Meet Mrs. Buddy.” Late one night I woke with the feeling I was not alone; sure enough, there was someone in the room, and I could see him in the moonlight on my mirror. It was he, Mr. Buddy, furtively opening, closing bureau drawers, and suddenly my box of pennies splattered on the floor, rolled riotously in all directions. There was no use pretending then, so I turned on a lamp, and Mr. Buddy looked at me squarely, scarcely fazed, and grinned. “Listen,” he said, and he was the most sober I’d ever seen him. “Listen, I’ve got to get out of here in a hurry.” I did not know what to say, and he looked down at the floor, his face turning slightly red. “Come on, be a good guy, have you got any money?” I could only point to the spilt pennies; without another word he got down on his knees, gathered them and, walking very erectly, went out the door. He was gone the next morning. Three women have come around asking for him, but I do not know his whereabouts. Maybe he is in Mobile. If you see him around there, R., won’t you drop me a card, please? I want a big fat mama, yes yes! Shotgun’s fingers, long as bananas, thick as dill pickles, pound the keys, and his foot, pounding the floor, shakes the café. Shotgun! The biggest show in town! Can’t sing worth a damn, but man, can he rattle that piano—listen: She’s cool in the summer and warm in the fall, she’s a four-season mama and that ain’t all . . . There he goes, his fat mouth yawning like a crocodile’s, his wicked red tongue tasting the tune, loving it, making love to it; jelly, Shotgun, jelly-jelly-jelly. Look at him laugh, that black, crazy face all scarred with bullet-shot, all glistening with sweat. Is there any human vice he doesn’t know about? A shame, though . . . Hardly any white folks ever see Shotgun, for this is a Negro café. Last year’s dusty Christmas decorations color the peeling arsenic walls; orange-green-purple strips of fluted paper, dangling from naked light bulbs, flutter in the wind of a tired fan; the proprietor, a handsome quadroon with hooded milk-blue eyes, leans over the bar, squalling, “Look here, what you think this is, some kinda charity? Get up that two-bits, nigger, and mighty quick.”

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Table of Contents


Truman Capote     ix
New Orleans     3
New York     10
Brooklyn     17
Hollywood     24
Haiti     30
To Europe     39
Ischia     45
Tangier     51
A Ride Through Spain     59
Fontana Vecchia     64
Style: and the Japanese     72
The Muses Are Heard     74
The Duke in His Domain     179
From Observations     212
Richard Avedon
John Huston
Charlie Chaplin
A Gathering of Swans
Pablo Picasso
Coco Chanel
Marcel Duchamp
Jean Cocteau
Andre Gide
Mae West
Louis Armstrong
Humphrey Bogart
Ezra Pound
Somerset Maugham
Isak Dinesen
A House on the Heights     233
Lola     246
Jane Bowles     256
Extreme Magic     260
Ghosts in Sunlight: The Filming of In Cold Blood     267
Greek Paragraphs     275
A Voice from a Cloud     281
Cecil Beaton     287
The White Rose     292
Self-Portrait     296
Preface to The Dogs Bark     307
Elizabeth Taylor     311
Music for Chameleons     320
Then It AllCame Down     328
Handcarved Coffins     338
A Day's Work     398
Dazzle     412
Hidden Gardens     422
Hello, Stranger     433
Derring-do     444
Nocturnal Turnings     455
A Beautiful Child     470
Mr. Jones     484
A Lamp in a Window     486
Hospitality     490
Preface to Music for Chameleons     494
Remembering Tennessee     500
Remembering Willa Cather     505
Index     509
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