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Truman relishes the complexity and the excitement of his relationship with the Paleys. He fantasizes about the kinds of stories he’ll be able to tell, but his loyalty to Babe gives him pause. His feelings about Bill are more complicated. Truman likes him, but his lack of patience and dismissive attitude toward Babe get on Truman’s nerves. Even so, Truman admires his wealth and influence—not to mention his taste. Truman thinks back to his recent meeting with Bill at the Links Club. Bill had invited him to ask a favor: He wants Truman to facilitate a meeting—and more—with his friend Carol Marcus. Truman hesitates, suggesting that he and Bill have more in common than meets the eye: They are excluded from certain kinds of clubs because of their identities; they enjoy sex, albeit with differently gendered partners; and they both love Babe. The gambit works on Bill, and Truman is thrilled to realize he considers him an equal. Bill suggests a fourth area of commonality: They are each “collectors”—of women. Truman agrees, but adds that the difference is that, unlike Bill, he doesn’t treat his women “like shit.”
Bill departs abruptly, leaving Truman to weigh the question of Carol. He knows that everyone in this circle cheats on everyone else; Truman and Jack cheat on each other, too. Eventually, he concludes that by keeping Bill happy, he’s helping Babe, so, over lunch with Carol, he passes on Bill’s proposition. Carol admires Babe too much to be one of Bill’s conquests. She also thinks that Truman shouldn’t start being Bill’s “pimp.”
When Carol leaves, Truman spots Pamela and marvels at the performance of her “famous charm” that has, most recently, enabled her to catch the eye of Slim’s soon-to-be ex-husband, Leland Hayward. As much as he detests the vulgarity of Pamela’s outfit, he tells her she looks “divine.” Slim, however, does not look divine when Truman visits her at the Waldorf Astoria. Out of a sense of compassion, Truman tells her that he “cut” Pamela at the restaurant.
Truman reflects that Slim is the most “vibrant” swan—and the best storyteller. As a storyteller himself, Truman is always happy to listen to her talk about Hemingway and Frank Sinatra and her other paramours. He recalls getting drunk with Slim and calling Babe so that Slim could tell her about the time she had sex on her period—a story that shocks Babe before she starts laughing. But Slim has been brought low by Leland’s betrayal, which started when Leland and Pamela were seated near each other at a dinner thrown by Babe when Slim was away. The worst part is Leland’s demand for a divorce—for Slim, it’s fine to have affairs as long as you stay married. As they drink together, Truman consoles Slim and assures her that the swans won’t drop her. In a moment of clarity, Truman feels disgusted by the whole scene and decides he doesn’t want to be Bill’s “fairy pimpmother.” To cheer Slim up, he suggests making phone calls to spread a rumor that Pamela has a sexually transmitted infection.
C.Z. Guest hangs up the phone in her Palm Beach house after listening to Truman rant about how the other swans won’t take his calls. She read “La Côte Basque 1965” and didn’t think much of it—it was certainly no In Cold Blood. She and the other swans had read that book when it came out, and it made them shy around him, like they had just realized that their charming friend was an actual artist. It’s not that Truman hadn’t been famous before that, C.Z. reflects; after all, she has a vivid memory of watching the film version of Breakfast at Tiffany’s with him. But they all—even Babe—were uncomfortable with Truman after In Cold Blood. C.Z. thinks back on her own checkered past, of her privileged childhood in Boston and of her years sowing “wild oats” with the Ziegfeld Follies and in Mexico with Diego Rivera. Her thoughts turn back to Truman, and she wonders again whether it was In Cold Blood that made him dangerous.
In the summer of 1966, Babe reads In Cold Blood—Truman’s “nonfiction novel” that depicts the murders of the Clutter family in Holcomb, Kansas, by Richard Hickock and Perry Smith. Babe is surprised by how much she identifies with the reclusive and melancholy wife, Bonnie Clutter. Thinking about Bonnie leads Babe to consider her distant relationship with her own four children, whom she has largely left alone in favor of Bill—and Truman. Thinking of Truman reminds her of how much she fears losing him, even as she struggles to connect the image of her friend with the masterful author of In Cold Blood. As if on cue, Truman calls her and sounds, Babe realizes, just like her friend always has. He knows that she would identify with Bonnie, he said, because he knows her better than anyone. Still, he is too busy to see her, given an upcoming television interview, and Babe feels at loose ends when they hang up.
To lift her spirits, Babe makes an unscheduled trip to Bergdorf Goodman. A salesperson offers assistance, embarrassed that it’s Mrs. Paley’s personal shopper’s day off, but Babe insists on being allowed to “wander.” Despite making a number of purchases, she is still feeling restless when she runs into Slim. Slim, now divorced from Leland Hayward, has recently married an Englishman with a title but no money. Babe insists on buying Slim a gift of lingerie. Their conversation periodically turns to Truman, and Slim assures Babe that he still loves them. On the way to buy Truman an extravagant present, Babe tells Slim she had pretended to be a “normal person” that day; Slim tells her not to do that very often—she and Truman love her the way she is.
In the summer of 1966, Truman resolves to throw himself a lavish masked ball to celebrate the wealth and prominence he has enjoyed since the publication of In Cold Blood. The ball will take place at the Plaza Hotel and will force the rich to “amuse” him for once; more than that, it will provide him with a sense of satisfaction that he couldn't achieve in any other way, not even by moving from Brooklyn to an apartment in the fashionable UN Building.
Truman cannily decides not to throw the party explicitly for himself. Rather, he resolves to honor Kay Graham, the recently widowed publisher of the Washington Post. He likes Kay—“Poor Kay!”—because of her “plainness” and her distance from the world of New York; he ranks her among the more “ordinary” people who fascinate him almost as much as the rich. He spends the summer crafting the guest list for his intimate soiree of some 500 people. The people he doesn’t invite are almost as interesting as those he does. Ann Woodward will not be invited, though not entirely because she murdered her husband. Her most recent crime was throwing a drink in Truman’s face and calling him a homophobic slur at the Duchess of Windsor’s party.
Working on the party is a welcome relief from the “agonizing” process of writing In Cold Blood. The bulk of the story was surprisingly easy to compose, but getting to the last part—Perry and Dick’s execution—had been horrible, as stays and appeals delayed the carrying out of the sentence, and made it impossible for Truman to finish the book. Truman knows he used them, then “deserted” them—and he knows that Perry and Dick knew it too. Bearing witness to the execution had been one of the hardest things he’d ever done, and left him with the disturbing knowledge that an artist and a killer are not always so different. These are the thoughts that he keeps at bay while he plans his party.
Babe and her two sisters, Betsey Cushing Roosevelt Whitney and Minnie Cushing Astor Fosburgh, have afternoon tea at the Plaza’s Palm Court. They regularly hold “summits” to discuss family and social matters; the subject of this particular meeting is the clothing they will wear to the Black and White Ball the next evening. The sisters are bonded by a shared upbringing and similar social outlooks. The one subject on which they disagree is Truman. Betsey is uncomfortable about the publicity surrounding the party and the rumors that Truman leaked his own guest list. Betsey thinks that Truman has a “sting”—he has always been nice to them, but not others. She warns Babe that any bad publicity from the party will reflect poorly on her, but Babe is unconcerned.
Chapter 14 documents the day of the Black and White Ball and the party itself through a series of perspectives, beginning with Kay Graham. Truman had insisted that she get her hair done, so she goes to Kenneth Battelle’s legendary hair salon. At first, they assign her to a junior stylist, but when they realize she is the guest of honor, Kay is whisked upstairs to see Kenneth himself. Kay is surprised by how much she likes the “sleek” and “simple” style that Kenneth gives her; feeling like Cinderella, she now looks forward to the ball.
Slim was also styled by Kenneth, whose staff ensured that she didn’t run into Pamela. She goes over the list of exes she’ll probably meet at the ball. Truman once said to her that every good party has a good fight, but Slim doubts that’s what he has in mind for tonight.
Truman is “all aflutter” with preparations, basking in the attention the ball is getting. As he dresses, he hopes that Jack is doing the same, even though he has been generally negative about this endeavor, telling Truman he should be writing instead.
Babe surveys her Fifth Avenue apartment before her guests arrive for a pre-ball dinner. She feels “shaky,” not quite able to set aside her dissatisfaction about having had such a limited role in planning the party. Physically, too, she has been feeling off, as though something has changed, even though Bill remains the same. She thinks about getting older, and about Truman’s recent behavior. Though he hadn’t “abandoned” his swans like they’d feared, she know he’s been drinking more. As she walks through the apartment, she’s tempted to think of herself as just another one of Bill’s art objects, but Truman’s arrival puts an end to her worries.
Alvin Dewey and his wife Marie came all the way from Kansas to attend the ball. Alvin is a detective for the Kansas Bureau of Investigation who featured in In Cold Blood. He didn’t like Truman at first, but he “charmed” everyone eventually. Marie is in awe of the beautiful gowns and the famous guests, basking in the generous compliments from the swans. Babe had been particularly kind at her dinner, and, as they arrived at the Plaza, she’d shepherded Marie through the crowds. Although her husband doesn’t dance, Marie does the foxtrot with a handsome young man. The next day she finds out it is the famous dancer Rudolf Nureyev.
Gloria’s jewels weigh her down, but she’s pleased to see that she’s the most elegantly dressed of her friends. Still, she’s feeling the effects of her age. Not every wrinkle can be hidden, and preparing to be seen at an event like this is now a weeklong process. She thinks about everything it took to get here, and wonders how she’ll survive without her youth.
Jack attends the ball, but he is resolved not to have fun. He hates the whole idea of the ball and despises the “sycophants” Truman has for friends. He regrets how much Truman has changed since they first met and fears that this night is the end of Truman’s literary career. Even though he has written a truly “great book,” Truman seems determined to waste his talents on frivolity and drink. Their relationship will never be the same either. Truman pulls him over to a table where Lauren “Betty” Bacall is sitting, and Jack dances with her. He and Truman exchange a tender glance.
Frank Sinatra only came to the ball because his new wife, Mia Farrow, insisted. He hates the whole scene, particularly because he isn’t the center of attention. He decides it’s time for them to leave for a more congenial atmosphere. Truman begs him not to leave, but Sinatra ignores him. His departure marks the end of the party.
Although everyone had been so gracious and complimentary about the ball, it is all over. In his Plaza suite, Truman feels “empty” and “unloved.” He drinks some vodka and closes his eyes. He wishes his mother would tell him a story, but his mother isn’t with him.
This section dramatizes The Fluidity of Personal Identity. Truman tests his ability to function in predominantly heterosexual male environments when he accompanies Bill to the Links Club. He holds his own in the “testosterone riot of leather and wood paneling” (223)—and he is proud to be able to do so. He wants to scream, "I’m a homosexual! And I’ve invaded your clubhouse” (229). Bill links Truman to straight sexuality when he notes that both he and Truman are “collectors of women” (228). The difference doesn’t center on sex but on how they treat the women they collect. Truman claims, “I don’t treat them like shit” (229)—although, by 1975, at least some of those women will disagree.
The fluidity of identity has a powerful effect on the Dynamics of Friendship and Betrayal. It is not just that Truman is able to make Slim believe he “cut” Pamela when he hadn’t done so, or that his newfound literary fame has left him with less time for his swans. The chapters that cover 1966, beginning with Chapter 11, register more profound changes in Truman and others; Babe even feels it in her body. There is more open discussion about Truman’s ability to hurt people; even Babe’s incredibly proper older sister Betsey ventures that he has a “sting.” Slim’s conversation with Truman in Chapter 10 suggests that betrayal and friendship are not opposites, but rather contained within each other. Slim doesn’t necessarily object to Pamela having an affair with Leland Hayward; for her, the unforgivable “betrayal” is the fact that Leland is getting divorced from Slim to marry Pam. Slim and Babe’s friendship also exists alongside betrayal. Throughout the novel, Benjamin drops hints that Slim is having an ongoing affair with Bill Paley. But Slim’s identity is fluid enough that she does not see an intrinsic conflict in her activities. In this, at least, Truman proves himself to be more loyal to Babe than Slim does; after a brief conversation with Carol, he decides not to help Bill find mistresses.
Everything changes once Truman publishes In Cold Blood. The swans always knew he was a writer, but the book reveals him as an entirely different, more serious, more intellectual—and more dangerous—figure. Having surprised them with this book, Truman can no longer be fully trusted not to surprise them again—and not all surprises are good or welcome. Even Babe worries about Truman’s change, and she feels it as a bodily ailment. Truman senses this, particularly from Babe, and he overcompensates by being even more outrageous and flamboyant when he sees them. Yet, while the swans are attempting to make sense of their new view of Truman as an intellectual, Jack Dunphy sees Truman’s identity changing in the other direction: Now that Truman has written a serious and important book, Jack doubts he’ll ever do so again.
Just as In Cold Blood catapults Truman to the top of his literary fame, the Black and White Ball realizes his hopes for beauty, wealth, and fame—even if only for a night. Benjamin’s kaleidoscopic representation of the day, which includes the perspectives of minor characters such as Kay Graham and Marie Dewey alongside Babe and other swans highlights the broader excitement around the event—some naïve, some not—as well as the kinds of reflections that Truman is trying to keep at bay by throwing the party in the first place. Jack voices his reservations midway through the ball, offering a counterpoint to the more straightforward excitement of Kay and Marie. The imagined reflections of Frank Sinatra and his ability to put an end to the party over Truman’s objections, however, show just how little control Truman really has. He can set events in motion, control the guest list, and try to facilitate certain kinds of interactions, but even he can’t convince his guests to stay once Sinatra leaves.
Though Truman gets the last word in the chapter about the ball, he must also reckon with The Price of Beauty, Wealth, and Fame in ways that, up until this point, had been abstract to him. Through his friendship with Babe, Truman has been able to get a sense of the limitations she has to impose on herself, but that sense has been largely aesthetic. His telling Babe that he knew she’d see herself in the murdered Bonnie Clutter in In Cold Blood suggests that Truman appreciates Babe as a character as much as—if not more than—a human being. Babe herself affirms the connection. Reading about Bonnie makes her think anew about how she has traded a close relationship with her children for the life she lives with Bill.
After the Black and White Ball, however, Truman must face the price of beauty, wealth, and fame in a much more personal way. He feels “empty, deflated, defeated. Alone. Unloved” (363). The ball, a symbol of beauty, wealth, and fame, doesn’t nourish him—more than that, it saps his power as a writer, as well as his sense of discipline.



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