Mr Jones Grotesque Quotes
Now, as we’d expect from the southern gothic setting, Mr. Jones is indeed a great example of the grotesque. He is not only physically abnormal but also a character capable of fantastic transformation. Jone’s is described as “blind, and crippled”(Capote 14). His “legs had been denied him by a childhood accident, and he couldn’t move without crutches” (Capote 14). This abnormal physicality set him apart from the norm. He is not only unable to move “without crutches” but he is also unable to see where he is going. Of course, this physical abnormality fits the description of the grotesque in its entirety, but the gothiness of Jones is not over yet. Jones is seen by Capote later in the story while he is on a subway car in Moscow. Capote recognizes
Jones’ distinct “single scarlet star shaped birthmark” on his face, which confirms beyond any doubt that the man on the train is Jones (Capote 15). When Capote sees Jones on the train he is shocked to see him stand “on a pair of fine sturdy legs” and stride “out of the car” (Capote 15). The fact that Jones is magically able to not only walk, but see again is pure phantasmagoria. So, as we can clearly deduce from the southern gothic setting, this story had to have a character who embodied the grotesque within this stories pages, and Mr. Jones is a prime example of just that. Although “Mr. Jones” takes place in New York and Moscow, this story is filled with vivid imagery of the southern Gothic. The title story of the collection, Music for Chameleons is also an example of a southern gothic tale that takes place far from the American south in Fort de France. This story is the epitome of the southern gothic. It takes place on the “terrace” of an “elegant house” that “looks as if it were made out of wooden lace” and “reminds [Capote] of a certain old New Orleans house”(Capote 1). Besides the fact that this house reminds Capote of a southern style architecture, the rich, aristocratic feel to the house is a perfect example of the kind of upper-class or upper echelon's portrayed in early gothic. Take for instance Crawford’s “The Upper Berth”, in which aristocratic men sit around in a beautiful parlor while drinking and smoking cigars; they also tell each other ghost stories. Similar to this classic gothic tale, there are accounts of ghost stories given by Capote’s hostess over a casual drink of absinthe. Madame states that the “whole island floats in strangeness” and that “this very house is haunted”(Capote 4). She goes on to say that not only is the house haunted, but that “many ghosts dwell here” promptly adding “and not in darkness”(Capote 4). This description is the definition of southern gothic. It is a literal example of what Harr meant by southern gothic taking place in a “daylight setting of ordinary communal activity” (Harr 8). The ghost story-esque setting of the house is a wonderful example of how the southern gothic charm infects the setting, creating a cocoon of gothic aura around Capote’s hostess.
Jones’ distinct “single scarlet star shaped birthmark” on his face, which confirms beyond any doubt that the man on the train is Jones (Capote 15). When Capote sees Jones on the train he is shocked to see him stand “on a pair of fine sturdy legs” and stride “out of the car” (Capote 15). The fact that Jones is magically able to not only walk, but see again is pure phantasmagoria. So, as we can clearly deduce from the southern gothic setting, this story had to have a character who embodied the grotesque within this stories pages, and Mr. Jones is a prime example of just that. Although “Mr. Jones” takes place in New York and Moscow, this story is filled with vivid imagery of the southern Gothic. The title story of the collection, Music for Chameleons is also an example of a southern gothic tale that takes place far from the American south in Fort de France. This story is the epitome of the southern gothic. It takes place on the “terrace” of an “elegant house” that “looks as if it were made out of wooden lace” and “reminds [Capote] of a certain old New Orleans house”(Capote 1). Besides the fact that this house reminds Capote of a southern style architecture, the rich, aristocratic feel to the house is a perfect example of the kind of upper-class or upper echelon's portrayed in early gothic. Take for instance Crawford’s “The Upper Berth”, in which aristocratic men sit around in a beautiful parlor while drinking and smoking cigars; they also tell each other ghost stories. Similar to this classic gothic tale, there are accounts of ghost stories given by Capote’s hostess over a casual drink of absinthe. Madame states that the “whole island floats in strangeness” and that “this very house is haunted”(Capote 4). She goes on to say that not only is the house haunted, but that “many ghosts dwell here” promptly adding “and not in darkness”(Capote 4). This description is the definition of southern gothic. It is a literal example of what Harr meant by southern gothic taking place in a “daylight setting of ordinary communal activity” (Harr 8). The ghost story-esque setting of the house is a wonderful example of how the southern gothic charm infects the setting, creating a cocoon of gothic aura around Capote’s hostess.