Berendt is able to give the reader a compelling germander speedwell view of the eat up case because he himself is on the flick investigating the crime (though he investigates many winding paths which expect to be detours from the crime), just as Truman Capote did in his In Cold Blood.
However, Berendt's book is different than Capote's in a physical body of ways. Although there is certainly suspense in Berendt's book, it is far more leisurely than Capote's book, because of those aforementioned detours. One could reasonably argue that his excursions into lowly characterizations and the outskirts of the Old South are not entirely applicable to the crime base at the heart of the book.
The crime itself involves the murder of a street hustler buy his sometimes lover. The event of the case might not satisfy the hard-core crime reader, for, after ten years and four trials, the residents of Savannah, Georgia, stool zero to show by way of conclusion, for the accused killer is order innocent, although he shortly thereafter dies of a heart attack, by chance as a result of the stress or his consume guilty conscience.
Another task for the who seeks a crime story with the truth, the whole truth, and nothing besides the truth, is to be found in
The seed writes the following with rate to this focus on the city and the sense that all else is last secondary to the city which remains so much the alike(p) after so many decades of great change all around it:
Berendt, John. Midnight in the Garden of Good and Evil. New york: stochastic House, 1994.
"Hey, Honey! . . . I hope you ain't mad at me after what I done to you out there, shinin' that light in your expect and talkin' dirty and all" (116).
The book should be taken for what its author intended. Perhaps it would have been a better idea for Berendt to have dedicated his "Author's Note" at the beginning of the book quite of at the end, so that the reader knows going into the work that the bourn between fiction and nonfiction might be clouded at unknown points.
Nevertheless, that caveat aside, the author's intentions are fairly right away known: This is going to be a book across-the-board of dialogue, full of more light-hearted observations, wit, asides, and stimulating travelogue observations than any other murder story you have ever read. It is going to be presented in the form of fiction, that is, although it is true, or at least generally true, or at least true in pull up stakess, although you will never be certain from moment to moment what part is true, what is not, or what part is partially true.
The same problem holds with jimmy to his pledge to remain true to the "essential drift of events". He might be inventing events which fit into other events, as prospicient as he remains true to the drift of events, but how is the reader to know when such invention is taking place?
Having said all that, having issued all those warnings about the nature of the book and its potential drawbacks (based on the likes and expectations of the reader), this reader found the book to be a truly unique reading experience. Whether I would barrack the book to another would depend on the aforementioned expectations.
The problem here is that the reader does not know where or when or
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