A Christmas Memory, One Christmas, and The Thanksgiving by Truman Capote

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By Truman Capote

Taking its position subsequent to Breakfast at Tiffany's and In chilly Blood at the smooth Library bookshelf is that this new and unique variation of Capote's most famed brief tales: “A Christmas Memory,” “One Christmas,” and “A Thanksgiving Memory.”

All 3 tales are uncommon by way of Capote's tender interaction of adolescence sensibility and recollective imaginative and prescient.

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Additional info for A Christmas Memory, One Christmas, and The Thanksgiving Visitor

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The Respublica Christiana . . "59 The metaphor of the state as a means of conceptualizing literary activity is important because it suggests the need for centralized leadership and control MASTERPIECE THEATER 27 in cultural affairs: the choice of proper reading matter was not something that could be left to the "restless many," but rightly belonged to the "thoughtful few" whose training and authority qualified them as arbiters of public taste. The formation of a literary canon in the nineteenth century was not a haphazard affair, but depended on the judgment of a small group of prominent men, the members of the Anthology Society—clergymen, professors, businessmen, judges, and statesmen—who conceived of their task as a civic and moral duty.

The ideal of human life implicit in Adams' descriptions of the story privileges individual self-realization, intellectual control, and a takecharge attitude toward experience. His beliefs about the nature of good fiction and the ideal shape of human life interpret "The Gentle Boy" for him as a story about "the protagonist's passing from the one state to the other or ... failing to do so. . 23 And this way of rendering stories intelligible means, among other things, that Adams will not notice the phrase "a domesticated sunbeam" at all, because there is nothing in his interpretive assumptions that would make it noticeable.

One might just as well criticize F. O. "25 In short, it is useless to insist that critics of the 1830s couldn't see the true nature of Hawthorne's work because of their naive literary and cultural assumptions, but that that true nature was there all along, waiting to be discovered by more discerning eyes. Rather the "true nature" of a literary work is a function of the critical perspective that is brought to bear upon it. What remains to be explained is why—if it is true that literary texts become visible only from within a particular framework of beliefs—it is always Hawthorne's texts that are the subject of these discussions rather than the texts of other writers.

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