“When seriously explored, the short story seems to me the most difficult and disciplining form of prose writing extant. Whatever control and technique I may have I owe entirely to my training in this medium.”— American fiction writer, essayist and screenwriter Truman Capote (1924-1984), interviewed by Pati Hill, “Truman Capote, The Art of Fiction No. 17,” The Paris Review, Issue 16, Spring-Summer 1957
Part of the reason I did not enjoy the just-concluded
“FEUD: Capote vs. the Swans,” is that it did not practice the concision and
control that Capote recognized as essential to the short story.
Instead, the mini-series about the imbroglio
surrounding his controversial “Answered Prayers” moved slower than the author’s
Southern drawl.
How unfortunate. Before fame, depression, and
substance abuse got the better of him, Capote applied sustained effort not just
to fiction but also to non-fiction, such as his New Yorker pieces “The
Muses Are Heard” and “The Duke in His Domain,” a profile of Marlon Brando that
is a masterpiece of malice.
Was Capote a “genius,” as he proclaimed? Perhaps not.
But American literature would be poorer without the likes of “Breakfast at
Tiffany’s,” “The Thanksgiving Visitor,” and “A Christmas Memory”—none with the
epic sweep of a novel, but all swift, sensitive, and memorable short fiction.
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