Mockingbird
Charles J. Shields' "Mockingbird, A Portrait of Harper Lee," really tells the story of two books.
One, of course, is "To Kill a Mockingbird," the Pulitzer prize-winning, best-selling American novel of the 20th century -- the only novel published by the publicity shy Harper Lee.
The second is "In Cold Blood," Truman Capote's chilling account of the murders of a wealthy Kansas farm family and following events culminating in the hangings of the two killers.
Probably like many other readers, I was already generally familiar with the history of "To Kill a Mockingbird." Nelle Harper Lee, a young woman from a small town in southern Alabama, left home and family in 1949 to pursue a writing career in New York. Barely supporting herself with clerical jobs, she made little progress until friends presented her with a Christmas gift of enough money to take off a year and devote herself to her fledging novel. The result, after many drafts, was a classic of American literature, the compelling story of discovery focusing on three young children set against a background of racism and ignorance. Shining through is the noble, courageous character of Atticus Finch, closely modeled after the author's father, attorney and businessman A.C. Lee.
Much more fascinating, however, is Shields' carefully researched presentation of Lee's work as Capote's research assistant in Garden City and Holcomb, Kan., where Capote was dispatched by the New Yorker magazine to write about the slayings of Herbert, Bonnie, Nancy and Kenyon Clutter in their isolated west Kansas farmhouse. The result would be Capote's masterful series in the New Yorker, which sent magazine sales through the roof, and later the dramatic nonfiction book.
Lee and Capote were childhood friends. Capote was portrayed as "Dill" in "To Kill a Mockingbird." When Lee accepted Capote's offer to help with research in Kansas, she had completed "Mockingbird" and was waiting for publication.
Shields makes a strong case that Lee played an indispensable role in the creating of "In Cold Blood." The small-town Kansans found the eccentric Capote arrogant and, well, odd. They took to Lee, who was bright, outgoing, small-townish. It was Lee who made important connections with key people, who opened doors, who helped Capote conduct interviews, who took notes, who joined him in planning and reviewing step after step.
In the end, although Capote dedicated "In Cold Blood" to Lee (and to his lover), he made no mention of her contributions in his acknowledgments.
Why not? By that time, Lee was a literary sensation, more famous and acclaimed than Capote. She had the Pulitzer and National Book Award he never did. There's a case for simmering, spoiled jealousy.
Ironically, Shields reports, Lee's sudden success with "Mockingbird" raised suspicions among some critics who thought its real author, or at least a major contributor, must have been Capote. To his shame, Capote never vigorously refuted such rumors. Shields dismisses them absolutely. "Mockingbird" is like none of Capote's work; it's Lee's.
Why didn't she write another? Shields can't give a definitive answer to that question. She tried, and for years said she was working on another. And then talk of a successor ended. Nothing came forth. "Mockingbird" was Lee's one great story.
She didn't grant interviews to Shields, and in fact stopped granting interviews altogether many years ago. Perhaps she no longer wanted to answer the question: Why no next novel? But, if Shields' assertions are correct, she was instrumental to the publication of a second great book: Truman Capote's "In Cold Blood."