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Book Title: Gümüş Damacana (Bütün Öyküleri)|
Format files: PDF
The size of the: 398 KB
v The author of the book: Truman Capote
Edition: Sel Yayıncılık
Date of issue: 2006
ISBN: No data
ISBN 13: No data
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Read full description of the books Gümüş Damacana (Bütün Öyküleri):What is it about Truman Capote? Despite the fact that he was unquestionably a minor writer, with an uncommonly thin portfolio of published work considering his forty-year career, he remains a figure of fascination. There have been books about him, movies, a Broadway play—and most of his own writing is still in print, still celebrated nearly thirty years after his death. And, even if I’m not always sure quite why, I’ve loved his work above that of virtually any other American writer for more than three decades.
I recognize that Faulkner, Hemingway, Henry James and the rest are vastly more important figures in the landscape of American literature, and I do love some of their work; but for me, well, I’d rather read Capote. Part of this may have to do with when I discovered him—at 20, just as I was graduating from the pulp fiction I’d read throughout my childhood and adolescence. Truman Capote was one of the first writers I’d encountered (along with Tennessee Williams, William Styron, and James Baldwin) for whom style was as important as story—who showed me that how a story was told was as important as what happened in it. I responded immediately and totally to his literary voice, and nothing made me fall in love with his writing harder than some of the pieces collected in “The Complete Stories of Truman Capote.”
Re-reading them now for the first time in a long while, I find that it’s still the early ones (originally collected in “A Tree of Night and Other Stories”) that move me the most—the Southern Gothics he wrote at the beginning of his career. Even here, I’m sometimes puzzled at how strongly I respond to these tales, considering how obvious their debt is to Carson McCullers and Eudora Welty. (His imagery and sentence rhythms are unmistakably reminiscent of McCullers, and his tale “My Side of the Matter” is uncomfortably similar in both style and plot to Welty’s “Why I Live at the P.O.”) Yet, despite the perhaps too-clear literary lineage, it seems to me that Capote’s brilliance with language and his ability to limn the emotional terrain of loneliness and alienation set him apart. Just listen to the opening of 1945’s “A Tree of Night”:
“It was winter. A string of naked light bulbs, from which it seemed all warmth had been drained, illuminated the little depot’s cold, windy platform. Earlier in the evening it had rained, and now icicles hung along the station-house eaves like some crystal monster’s vicious teeth. Except for a girl, young and rather tall, the platform was deserted. The girl wore a gray flannel suit, a raincoat, and a plaid scarf. Her hair, parted in the middle and rolled up neatly on the sides, was a rich blondish-brown; and, while her face tended to be too thin and narrow, she was, though not extraordinarily so, attractive. In addition to an assortment of magazines and a gray suede purse on which elaborate brass letters spelled Kay, she carried conspicuously a green Western guitar.”
This is the kind of writing you either respond to or don’t. For me, it was a definitive one-paragraph object lesson in how to set mood and tone in a short story. Many others—“Miriam,” “Shut a Final Door,” and especially the sublime, hallucinatory “The Headless Hawk”—provided more lessons. Even today, thirty years later, I feel I still learn from re-reading these remarkable stories.
It must be admitted that the later tales in the collection are something of a mixed bag. Capote lost interest in short fiction after his initial splash with “A Tree of Night and Other Stories” and worked only sporadically in the form thereafter. Of the later tales, the quasi-memoir “A Christmas Memory” is surely as perfect a piece of prose about that holiday as has ever been written. The other holiday tales, “The Thanksgiving Visitor” and “One Christmas,” while competent, seem anti-climactic after it.
Alas, I feel compelled to deduct one star from my rating—not because of Capote’s stories, but because of Reynolds Price’s unsympathetic and uncomprehending introduction, which should not have been published here. Between his bogus claim that the magnificent early stories “lack an emotional center” (it seems Price would have liked them to clearly be gay-confession narratives) to his dismissive remark that the extraordinary, much-anthologized “Children on Their Birthdays” resembles a “not-quite-finished” Welty tale, it’s clear that Price was the wrong man for this particular job. I can only hope that future editions of “The Complete Stories of Truman Capote” eliminate this silly essay.
Five stars for Capote; zero for Reynolds Price.
Read information about the authorTruman 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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