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Kaltblütig (1965)

von Truman Capote

Weitere Autoren: Siehe Abschnitt Weitere Autoren.

MitgliederRezensionenBeliebtheitDurchschnittliche BewertungDiskussionen / Diskussionen
19,931402140 (4.14)2 / 776
Mit diesem Bestseller erfand Capote das Genre des Tatsachenromans. Ausgelöst von einem Zeitungsbericht, in dem von einem vierfachen Mord in Kansas berichtet wird, recherchiert Capote sechs Jahre lang die Hintergründe und Motive der beiden Täter Dick Hickock und Perry Smith. Er begleitet die Mörder bis zum Galgen.… (mehr)
  1. 80
    Helter Skelter - Der Mordrausch des Charles Manson: Eine Chronik des Grauens von Vincent Bugliosi (artturnerjr)
  2. 31
    Gnadenlos : das Lied vom Henker von Norman Mailer (VisibleGhost)
  3. 20
    Operacion Masacre: Argentinischer Tatsachenbericht nach Aussagen Erschossener. von Rodolfo Walsh (chrisharpe)
    chrisharpe: 'Operation Massacre' by Rodolfo Walsh predates 'In Cold Blood' and is regarded as the work originating modern 'true crime'. In this case, the reportage covers the 1956 police execution of a group of men in Buenos Aires during the 'Dirty War'.
  4. 20
    Der letzte Tag eines Verurteilten von Victor Hugo (lilisin)
  5. 10
    Mockingbird: A Portrait of Harper Lee von Charles J. Shields (edwinbcn)
  6. 10
    Big Trouble: A Murder in a Small Western Town Sets Off a Struggle for the Soul of America von J. Anthony Lukas (FFortuna)
  7. 11
    Also dann bis morgen von William Maxwell (Jesse_wiedinmyer)
  8. 00
    Der Teufel von Chicago. Ein Architekt, ein Mörder und die Weltausstellung, die Amerika veränderte von Erik Larson (BookshelfMonstrosity)
  9. 11
    Fame and Obscurity von Gay Talese (Ronoc)
  10. 11
    Finstere Orte von Gillian Flynn (Anonymer Nutzer)
    Anonymer Nutzer: Dark Places was undoubtedly influenced by In Cold Blood, but brings an interesting form of storytelling to superficially similar plot lines.
  11. 11
    Pascual Duartes Familie von Camilo José Cela (caflores)
    caflores: Dos historias sobre violencia provocada por el ambiente, y dos narraciones crudas y frías.
  12. 01
    Zeitoun von Dave Eggers (Othemts)
  13. 01
    Der Tempelbrand von Yukio Mishima (GYKM)
    GYKM: In 1956, Yukio Mishima not only conducted background research into the crime that he would base his psychological novel on but he also interviewed the arsonist. The Temple of the Golden Pavilion is a melding of fiction, fact, and autobiography.
  14. 01
    Capote in Kansas: A Ghost Story von Kim Powers (bnbookgirl)
  15. 08
    Ich bin Charlotte Simmons: Roman von Tom Wolfe (Voracious_Reader)
    Voracious_Reader: Not a true crime story. It is part of the New Journalism body of work.
1960s (2)
Read (13)
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"I didn't want to harm the man. I thought he was a very nice gentleman. Soft-spoken. I thought so right up to the moment I cut his throat." (pg. 237)

There's been some disquiet recently about the enduring public appetite for 'true crime' as entertainment, with Netflix – among others – pushing themselves into increasingly suspect commissions in order to meet the demand. But, in truth, this is nothing new. There has always been controversy surrounding the genre, a dilemma over whether the horrific suffering of real people should be packaged as, broadly speaking, 'entertainment'. This is evident even in one of the earliest – and finest – examples of the genre: Truman Capote's In Cold Blood.

It's a brilliant book, no doubt about it. Originally serialized in The New Yorker while the killers were still on death row, it is a stellar piece of narrative journalism and one which pioneered a new, commercially-successful recipe for 'true crime'. There's never any real doubt about who the killers are, no grand mystery or plot twist; instead, the winning formula involves the writer – a technically-excellent writer – gradually revealing the details of the murders, the motivations of the killers, and the investigation over the course of his narrative. It grips. Tightly. And it's thrilling; not only in the assured way Capote unfolds the crimes but in the way that, I imagine, the lions mauling Christians was thrilling to the audience in the Colosseum. There's an edge – which should make anyone feel slightly queasy – about knowing this wasn't a story, that this was real.

I purposely avoided googling the crime until after I had finished In Cold Blood – no skipping ahead and, importantly, no photographs, either of the criminals or their victims. There was only what Truman Capote could conjure for me with his words – and, by God, he can. But I have to say, once I did finish the book and got to googling, the spell was somewhat broken. I felt a bit of shame at having enjoyed the book after seeing what the Clutter family really looked like; ordinary people who, through no will of their own, had undergone a brutal ordeal and had, let's be honest, suffered the further indignity of being reduced to performing for the reader. I'm not resolved about these feelings – and maybe I'm just a hypocrite – but there's always that shadow lurking about a piece of 'true crime', something that makes it seem shabby and inappropriate, for all that it is vivid and intoxicating.

And the googling also brought forward two other spell-breakers: the photographs of the criminals and the written criticisms of Capote's inaccuracies in the story. It makes sense, sometimes, that Capote would embellish or invent in order to move the story along, unethical as this may sometimes appear. But the googled photographs of the two criminals cut right through one of Capote's successes in In Cold Blood: sympathy (or at least reluctant empathy) with the murderers. The book is fascinated with its two killers, particularly the 'gentle', 'sensitive' Perry Smith, but the photographs of these warped individuals (Dick Hickock being the other) brought me back down to earth. It's one thing to understand a killer's motivations, his journey and his past, but it's quite another to be taken in. Capote appears, at times, taken in, and his enthusiasm and his writing ability helps ensure the reader is taken in too. But in the cold light of day, separated from Capote's deceptively simple prose, those photographs remind us that these men coldly and brutally murdered an entire family, who were innocent and terrified and pleading for their lives. The reader wrestles with how the crime appals as much as it enthrals.

This is not to say that Capote is dishonest in his approach. The discomfort, the "sorrow and profound fatigue" that we share with the investigators when the criminals recount the details of their crime (pg. 239), are part of the deal with the devil we make when we seek entertainment in 'true crime'. Capote himself is even-handed (though not exactly neutral), and we find ourselves sharing the view of the criminals that one detective's wife offers: she is "reminded of a childhood incident – of a bobcat she'd once seen caught in a trap, and of how, though she'd wanted to release it, the cat's eyes, radiant with pain and hatred, had drained her of pity and filled her with terror" (pg. 157). The author's hand might well be involved here, for it is a perfect analogy. That hand is certainly involved when Capote delivers the final scene of the book. This scene is invented but, after the brutality of the previous 300 pages, it's a perfectly measured piece of relief and gentleness.

Perhaps the most creditable achievement of In Cold Blood is to be found in the unease it generates. Capote does not shy away from the messiness and uses the disquiet – the taboo, if you will – of discussing the crime to really make us reflect on the nature of crime and criminals. Like that bobcat in the trap mentioned above, we want to relieve but we also know that there is rage in the world that cannot be controlled, and certainly not by good or noble intentions. The Clutters were good people, by all accounts, but it didn't prevent cruel chance from destroying them in a horrible, drawn-out way. Mercy for the killers wouldn't have helped them, and certainly wouldn't have helped any future victims. Similarly, the fact that I feel unease about reading this, and feel a desire to be noble about it, doesn't prevent me from reading it as salaciously as everyone else.

For better or worse, Capote uses these emotions, dilemmas and taboos as fuel. The cracks in our worldview are where he finds his most potent material. When the killers point out that they're not the only killers in the courtroom, seeing as the jurors are contemplating the death penalty, there's some truth in it, however self-pitying. Hanging them is "pretty goddam cold-blooded too" (pg. 298) – perhaps an intentional counterpoint to Capote's chosen title. When the detectives, the jurors, the community – and we, the reader – want to hear the "morbid details from the killer's own terrible lips" (pg. 260), there's a sort of cold-bloodedness in this desire too. These two killers belong in hell, if there is one, but the reader still feels an unease at sending them there, at being the one to sift through the gory detail and judging them – and worse, at enjoying it. All the moreso because the killers are very much human and relatable; their evil cannot be attributed to a cosmic force. One of Capote's great successes in the book is in demonstrating how "the crime would not have occurred except for a certain frictional interplay between the perpetrators" (pg. 290). Horrible chance and an even more horrible – and entirely human – accumulation of malice meant the innocent Clutter family had to pay.

And, for the reader, this is disturbing. When one local resident suggests that the most appropriate punishment for the two murderers is to "be locked in the same cell for the rest of their lives. Never allowed any visitors. Just sit there staring at each other till the day they die" (pg. 241), he unwittingly hits upon why crimes like this one are so frightening and so compelling at the same time. There's no more terrifying fate than having to face up to reality. Monsters can be dismissed, defended against, our fears of them rationalized; human beings, unfortunately, have to be dealt with. When one of the killers converses with the bound, frightened young Nancy Clutter ("really nice… Said next to dancing what she liked best was to gallop a horse, so I mentioned my mother had been a champion rodeo rider" (pg. 236)), it's almost obscene that these two people are in the same room, that their two worlds have converged, and that the wrong one has the power of life and death over the other. The thrill of In Cold Blood lasts only as a memory; the enduring sense after reading the book is one of profound unease. If the entertainment of 'true crime' really is a deal with the devil, Capote is on hand to make sure we pay up. ( )
2 abstimmen Mike_F | Mar 24, 2021 |
"En un momento, ni un alma los oyó en el pueblo dormido..., cuatro disparos que, en total, terminaron con seis vidas humanas. Pero después, la gente del pueblo, hasta entonces suficientemente confiada como para no echar llave por la noche, descubrió que su imaginación los recreaba una y otra vez..., esas sombrías explosiones que encendieron hogueras de desconfianza, a cuyo resplandor muchos viejos vecinos se miraron extrañamente, como si no se conocieran".

Uno de los clásicos de la literatura mundial, donde Capote muestra su gran capacidad de unir la narrativa periodística de un hecho como son los asesinatos de la familia Clutter con la semblanza de los asesinos, logrando incluso generar un grado de empatía con ellos, más allá de los acontecimientos.

En la narración, Capote es capaz de llevar por diferentes líneas de la historia, sin perder detalle ni dejar caer el interés que va atrapando al lector. Puede llevar los análisis personales al extremo, entrando en detalles que permiten conocer lo más posible a los personajes lo que, incluso, hasta puede hacer cambiar las percepciones del lector hacia los dos asesinos.

No es un libro rápido de leer porque necesita desplegar bien la trama, pero eso lo hace atrapante. Esto, sumado a la forma en que Capote lleva el ritmo y el desarrollo propio del tema y los personales, convierte al libro en un imperdible. ( )
  JoseContrerasC | Feb 13, 2021 |
Well written, and great glimpse into the killers background and psyche. I found Perry Smith to be particularly sympathetic, which I'm sure was intentional. I'll say that this book struggled to hold my attention for large portions of it. The beginning was slow and I was not really interested in the daily lives of the victims. The investigation was kind of interesting, but not enough for me. I think the "true crime" genre is just something I'm not really into. ( )
  Andjhostet | Jan 11, 2021 |
As thrilling as ANY novel, the hype around this non-fiction classic is real, people. ( )
  Teresa1966 | Dec 22, 2020 |
Leer este libro es como coger un objeto de la mesa y mirarlo desde todos los angulos posibles.
Por ejemplo el teclado con el que estoy escribiendo esto. Puedes fijarte en cada tecla, en su textura, la presion que se necesita para escribir, el espaciado entre ellas. Y darte cuenta de detalles que de otras formas no sabrias que estan ahi, acabo de aprender el lugar de origen de mi teclado por ejemplo, da la casualidad que he estado en esa ciudad, ahora podria explicarte las condiciones de vida alli y la personalidad de su gente y como eso influye tambien en este teclado.

Bien, eso es lo que Truman Capote hace aqui pero con el asesinato de 4 personas en una granja en Kansas. Es una gran cantidad de material y esta presentado de forma clara y concisa. ( )
  trusmis | Nov 28, 2020 |
If nothing else, In Cold Blood justifies another Capote conviction: that when reportage commands the highest literary skills, it can approach the level of art.
hinzugefügt von Shortride | bearbeitenTime (Jan 21, 1966)

» Andere Autoren hinzufügen (21 möglich)

AutorennameRolleArt des AutorsWerk?Status
Truman CapoteHauptautoralle Ausgabenberechnet
Borràs, Maria LluïsaÜbersetzerCo-Autoreinige Ausgabenbestätigt
Breckan, Eldor MartinÜbersetzerCo-Autoreinige Ausgabenbestätigt
Brick, ScottErzählerCo-Autoreinige Ausgabenbestätigt
Colacello, BobEinführungCo-Autoreinige Ausgabenbestätigt
Cornips, ThérèseÜbersetzerCo-Autoreinige Ausgabenbestätigt
Fujita, S. NeilUmschlaggestalterCo-Autoreinige Ausgabenbestätigt
Larsstuvold, RuneVorwortCo-Autoreinige Ausgabenbestätigt
Ricci Dèttore, MariapaolaÜbersetzerCo-Autoreinige Ausgabenbestätigt
Thomson, RupertEinführungCo-Autoreinige Ausgabenbestätigt
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Epigraph (Motto/Zitat)
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Een waar verslag van een viervoudige moord en zijn gevolgen.
Freres humains qui apres nour vivez

N'ayez les cuers contre nous endurcis,

Car, se pitie de nous povres avez,

Dieu en aura plus tost de vous mercis

Francois Villon
Ballade des pendus
Brothers, men who live after us,
Let not your hearts be hardened against us,
Because, if you have pity for us poor men,
God will have more mercy toward you.
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FOR Jack Dunphy AND Harper Lee
Erste Worte
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The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call 'out there'.
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Mensenbroeders, gij die na ons leeft, wil niet verbitterd aan ons denken, want wie erbarmen met ons armen heeft, zal God veel eerder zijn genade schenken. (François Villon - Ballade der gehangenen)
In over three months I practically never left the Broadway area. For one thing, I didn't have the right clothes. Just Western clothes - jeans and boots. But there on Forty-second Street nobody cares, it all rides - anything. My whole life, I never met so many freaks.
Letzte Worte
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(Zum Anzeigen anklicken. Warnung: Enthält möglicherweise Spoiler.)
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Anerkannter DDC/MDS

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Wikipedia auf Englisch (1)

Mit diesem Bestseller erfand Capote das Genre des Tatsachenromans. Ausgelöst von einem Zeitungsbericht, in dem von einem vierfachen Mord in Kansas berichtet wird, recherchiert Capote sechs Jahre lang die Hintergründe und Motive der beiden Täter Dick Hickock und Perry Smith. Er begleitet die Mörder bis zum Galgen.

Keine Bibliotheksbeschreibungen gefunden.

Zusammenfassung in Haiku-Form

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Durchschnitt: (4.14)
0.5 1
1 35
1.5 11
2 143
2.5 39
3 731
3.5 213
4 1937
4.5 259
5 1921

Penguin Australia

4 Ausgaben dieses Buches wurden von Penguin Australia veröffentlicht.

Ausgaben: 0141182571, 014103839X, 0141043083, 0241956838

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