Truman Capote’s Decadent/Campy Parody of Southern Gothic: Aesthetic Self-Distancing in Other Voices, Other Rooms

This article explores Truman Capote’s parodic/reconstructive exploitation of decadent aesthetics in his “Southern Gothic” novel, Other Voices, Other Rooms (1948), as dissident self-distancing from postwar conservatism. Modernist Southern Gothic writers owe European decadent culture for their thematization of the sociocultural decay of the antebellum South and characterization of dandiacal dissidents, while often reiterating the claustrophobic mood of the patriarchal and racist society and excluding/villainizing those dandies. Critically analogizing the nationalist heteronormativity of the early-Cold War American society with the oppressive patriarchy of the South, OVOR playfully deconstructs the tragic narrative of Modernist Southern Gothic by foregrounding the reparative aspect of decadent aesthetics mainly through the pedagogic relationship between a Wildean dilettante, Randolph, and a young protagonist, Joel. Simultaneously, with the ironical self-satire against the potential authoritarianism of white bourgeois decadence, Capote democratizes decadent aesthetics as a non-normative survival method through the exposure of Randolph’s vulnerability and the parodic adaptation of his dilettantism by the non-white characters. I argue that OVOR marks the vacillating but inevitable transition from decadence to camp as a seemingly non-political but necessary survivalist strategy in the Cold War/Pre-Stonewall American society that conducts surveillance of, persecutes, and stigmatizes as “decadence” non-normative genders and sexualities.