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Too Brief a Treat. The Letters of Truman Capote
a doctor believed I had lip-cancer. They cut a chunk out of my lip, (leaving quite a scar), and sent it for biopsy—which turned out negative. These damn doctors! Anyway, very little has been coming up roses since last I wrote you.
But I hope the story with you is very different. I hope Kin has arrived, and you are doing marvelous things together. Probably at this very moment you are somewhere bathing in the twilight of Gothic things.
Obviously Jack and I are here at the beach. We have a very cozy, charming little hut. A good place to work, and I hope to get cracking now.
Don’t know any gossip. Quite some time ago I went to dinner with Jackie K. at the [James and Minnie] Fosburghs, and the Fosburghs got mad at me because Jackie et moi spent the whole evening talking about sex. They thought it was my fault. Ha Ha. Love to Kin. Hugs & kisses
T
P.S. nothing new from Kansas.
[Collection St. John’s College, Cambridge University]

TO CHRISTOPHER ISHERWOOD
18 June 1964
Box 501
Bridgehampton, N.Y.
Dear Christopher—
Yesterday I read “A Single Man” straight through.181 Today, unable to get it out of my mind, I read large portions of it over again. This is your most beautiful and powerful writing. A stylistic tour-de-force of the greatest distinction; but ah!—so much more than that. How often the accuracy and honesty of your insight, make one laugh and shudder simultaneously. It is harrowing stuff, and yet very funny, and always, always, deeply moving. What shines through is the real nobility of your mind and art. I am very proud of you, and envious as well.
I lost my address book, and so am sending this in care of your publishers. I hope it finds you well, and working. At least I’m working—though I wonder to what purpose, for the prospect of either finishing or publishing seems to get ever remoter. My love to Don. To you: an embrace and a salute!
Truman
[Collection Henry E. Huntington Library]

TO ALVIN DEWEY III
[Bridgehampton, N.Y.]
1st July 1964
Dear Dewey,
Forgive the long delay in answering your letter, but I have been immobilized by these court activities—or should I say lack of activity?
Anyway, what interested me most was your reaction to “My Antonia”. You say you were too absorbed by it to “learn” anything from it. But one can’t learn anything from a book, at least artistically, unless one is absorbed. It is not a conscious process—or only very rarely. One only really learns from what one enjoys. If a book or story bores you, then you might as well put it down. At this point, all I want you to do is try to develop an instinctive knowledge between good writing and bad writing. It will happen of itself—you’ll see. Incidentally, what did you think of “The Heart Is a Lonely Hunter”?
Here are some more books I would like you to try.
“A Farewell to Arms” by Hemingway.
“Out of Africa” by Isak Dinesen.
“Winesburg, Ohio” by Sherwood Anderson
Collected Poems of Robert Frost
Love
Truman
If “Out of Africa” (marvelous book!) is unavailable I will send it.
[Collection New York Public Library]

TO ALVIN DEWEY III
[Bridgehampton, N.Y.]
4 July 1964
Dear Dewey,
I enjoyed your letter very much. To answer a few of your questions: yes, Holly [Golightly]182 was a real girl—but the incidents described in the story, or at least most of them, are fictional. I often use ‘real’ people in my work, and then create a story around them. Most of the people in Nelle’s book are drawn from life. My story, “A Christmas Memory” is entirely autobiographical.
As for “Other Voices—”—this is a very difficult book. First of all, it isn’t really a novel—but a long prose-poem. The “secret” of the book, the meaning (and it has one) lies in the last few pages. I don’t intend to tell you what it is, for someday you will see it for yourself. You do not yet know quite enough about life—
You mention the short stories of Evan Hunter. He is an extremely mediocre writer. Now, it is quite all right to be entertained by bad writing (I’m quite fond of a number of really terrible writers—Agatha Christie, Ian Fleming etc.), but it is important to be aware of the fact that they are bad. But this is something you will only discover as your reading progresses and your taste instinctively develops.
You must get into the habit of writing, even if it is only a paragraph a day. Try keeping a journal. One good exercise is to describe, in a page or two, some scene or person exactly as you see them: when I was your age I used to do this exercise religiously—it strengthens you, like piano practice. At this point, it is not necessary for you to attempt a whole short story. In any event, write about what you know about.
I am going to send you a book “Writers At Work” which I think you will find helpful.183
No, Joe Bell184 was not inspired by Carson McCuller’s [sic] bartender.
Have you read “Look Homeward, Angel” by Thomas Wolfe? I have many reservations about it, but definitely think you should read it. And of course you must read “The Catcher in the Rye”—though perhaps you have.
Show the enclosed clipping to your Mom and Pa.
All love to all
T.
[Collection New York Public Library]

TO ALVIN DEWEY III
[Bridgehampton, N.Y.]
16 July 1964
Dear Dewey—
The ‘sketch’ is interesting, but too disorganized. As I’ve said before, you should limit yourself for the time being to ‘exercises’—Describe Pete in one or two paragraphs of simple, declarative sentences. Describe the men you are working with. What they look like, the sort of men you think they are, what they eat and talk about, quote their conversations. Describe your farm. Stick with simple things you know about. Perhaps this sort of material will not seem to you inspiring—not at first. But it will teach you a great deal about writing. Please send me all the exercises you do, and I will criticize them in detail. It really isn’t possible to criticize this last sketch, because it really isn’t about anything specific or real. As you see, I’m going to be truthful and tough.
I’ve ordered some books for you, but they haven’t arrived yet.
My love to you and Pauly and your adorable mother and The Detective (one and only).
Hugs—
T.
[Collection New York Public Library]

TO ALVIN AND MARIE DEWEY
[Bridgehampton, N.Y.]
Tuesday
[28 July 1964]
Dearhearts—
I’ve just finished talking with Clifford H. about this Bobby Rupp business.185 Billy Wilder186 is very anxious to have him sign the release, and has been putting a great deal of pressure on me about it. If Alvin were to speak to Bobby, and tell him that he has read the manuscript, and that it is very nice about Bobby (which God knows it is), and contains nothing that could possibly embarass [sic] him, perhaps Bobby could be persuaded to stop being adolescent. However, there may be reasons why Alvin would not care to do this. However, if Alvin is willing—please call Cliff. He will give you two releases—one is the original release, and the other is something special. Bobby told Cliff that he had no objection to his character and personality being used in a film, as long as he wasn’t identified by name. The second release is a compromise on that basis, and could be offered if he balked at signing the first and original release. I hate to ask such a troublesome favor, but alas it has become important. I will call you Saturday from New Hampshire—where am going to stay with the Paleys for a few days at their lake house.
I hope Alvin’s cold improved sufficiently to trounce poor Harrison and his bride.
Tell Dewey that I rcvd. his exercises, and that they show great improvement. He is on the right track, and must keep on it. However, I will write to him directly soon—
I miss you, dearest Marie. I miss you both. Hugs and love
T.
[Collection New York Public Library]

TO ALVIN DEWEY III
[Bridgehampton, N.Y.]
30 July 1964
Dear Dewey—
The ‘exercises’ show much improvement. The quality of observation is good, visually. But you should include facts—one wonders: is that man married, what is his age, his probable income, does he have children. I don’t mean such matters are always pertinent—that is something you will have to come to judge for yourself.
However, you go out of your way to find an odd or long word, where a simpler one would do. Most beginning writers do this—apparently under the impression that good writing is fancy writing. It isn’t. Strive for simplicity—the plain, everyday word is usually the best. It is how you arrange them that counts. Try this exercise—write a portrait of someone you like very much, then one of someone you really dislike.
I sent you a little novel called “The Collector”—it’s no masterpiece, but it is fairly well-written, and I think you will find it entertaining.187Well, you are making progress! As for Simenon—I know him a little, and I wouldn’t say he was unhappy: he’s the richest writer in the world!188 Ha ha.
Love
T.
[Collection New York Public Library]

TO BENNETT CERF
22 August 1964
Bridgehampton, N.Y.
Dear Bennett—
Why has my “Selected Writings” book not been put into the Modern Library? I was promised it would be—indeed, that was the main reason for doing the book; and it seems to me the matter has been delayed long enough. Can you imagine how very galling it is for me to see so many of my contemporaries (Mailer, Salinger, Bernard Malamud etc.—none of them Random House authors) included in this series, while the publisher of same ignores its own writer? It’s unjust—both humanly, and in terms of literary achievement. By reason of the latter, not only should the “Selected

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a doctor believed I had lip-cancer. They cut a chunk out of my lip, (leaving quite a scar), and sent it for biopsy—which turned out negative. These damn doctors! Anyway,