Truman Capote’s self-proclaimed “nonfiction novel” In Cold Blood: A True Account of a Multiple Murder and Its Consequences (1965) and Margaret Atwood’s Alias Grace (1996), a fictional retelling of a nineteenth-century Canadian multiple murder and its consequences, share a grisly focus. Capote’s text documents the murders of four members of the Clutter family by the ex-convicts Perry Smith and Dick Hickock in the early-morning hours of November 15, 1959. In Cold Blood describes the confessed killers’ capture and imprisonment, details their path through the American legal system, and includes an account of their eventual executions. Atwood’s Alias Grace is, by contrast, an openly fictional account of a notorious Canadian true crime: in 1843, homeowner Thomas Kinnear and his housekeeper/mistress, Nancy Montgomery, were murdered by Nancy’s fellow-servants Grace Marks and James McDermott. McDermott was convicted and hanged, but Marks’ deathsentence was commuted to life imprisonment because of her gender and age (she was only sixteen). Pardoned and released from prison in 1873, Grace Marks moved to the United States and disappeared; no record of her whereabouts after her release remains. In their respective approaches to writing novels that imaginatively describe non-fictional events and incorporate real-world texts and contexts, Atwood and Capote each mingle factual accuracy and literary artistry. As a result, In Cold Blood and Alias Grace are simultaneously referential and constructed, a textual feature that has been a source of critical debate since their publications. For many years and for many scholars, the narrative significance of these novels hinged almost entirely on the question of their reliability: how “accurate” could these texts really be, if their authors used a fictional genre (the novel) to represent non-fictional events? As Wolfgang Iser argues in “Feigning in Fiction” (1985), literary texts invoke, not “a contrast with reality,” but “conventions, which form the basis of a kind of contract between author and reader” (214). More recently, Michael Lackey has argued that “readers need to specify the nature” of this “implied contract”

中文翻译：

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“完全不同的故事”：在卡波特的《冷血》和阿特伍德的《别名》中表达Craft悔

杜鲁门·卡波特（Truman Capote）自称为“非小说类小说”，《冷血：真实的多重谋杀及其后果》（1965年）和玛格丽特·阿特伍德的《别名·格雷斯》（1996年），虚构地讲述了19世纪加拿大的多重谋杀及其后果，共同关注。Capote的文字记录了1959年11月15日凌晨，前犯罪分子Perry Smith和Dick Hickock杀害了Clutter家族的四名成员。在《冷血》中描述了供认的凶手被捕和入狱，并详细说明了他们通过的途径。美国法律制度，并包括其最终执行情况的说明。相比之下，阿特伍德的Alias Grace是虚构的关于加拿大臭名昭著的真实犯罪的虚构记载：1843年，房主Thomas Kinnear及其管家/女主人Nancy Montgomery，被南希的仆人格蕾丝·马克斯和詹姆斯·麦克德莫特谋杀。麦克德莫特（McDermott）被判有罪并处以绞刑，但马克的死刑因其性别和年龄（只有16岁）而被改判为无期徒刑。宽恕（Grace Marks）于1873年被赦免并从监狱中释放出来，移居美国并失踪。她被释放后下落不明。阿特伍德（Atwood）和卡波特（Capote）在各自的小说中以想象力地描述了非虚构的事件并融合了现实世界的文本和上下文，各自​​融合了事实的准确性和文学艺术性。结果，《冷血》和《别名》被同时引用和建构，这是一种文本特征，自出版以来就引起了激烈的争论。多年来，对于许多学者来说，这些小说的叙事意义几乎完全取决于它们的可靠性问题：如果他们的作者使用虚构的类型（小说）来代表非虚构的事件，那么这些文本的真实性到底有多“准确”？正如沃尔夫冈·伊瑟（Wolfgang Iser）在“小说中的伪装”（1985年）中所论证的那样，文学文本不是“与现实形成对比”，而是“惯例，构成了作者与读者之间某种契约的基础”（214）。最近，迈克尔·拉基（Michael Lackey）认为，“读者需要指定此“隐含合同”的性质” ”，而是“构成作者与读者之间某种合同基础的惯例”（214）。最近，迈克尔·拉基（Michael Lackey）认为，“读者需要指定此“隐含合同”的性质” ”，而是“构成作者与读者之间某种合同基础的惯例”（214）。最近，迈克尔·拉基（Michael Lackey）认为，“读者需要指定此“隐含合同”的性质”