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The article focuses on narratives that can best be classified as documentary novels. Such narratives can frequently depict deviant crimes. The selected texts are taken from three different decades, as the study intends to determine if/how the perception of crime and, consequently, its depiction in verbal narratives change through time, and moreover, to examine the attitudes of different writers towards facts (empirical reality) that they depict. Truman Capotećs In Cold Blood (1965), Norman Mailer\u27s The Executioner\u27s Song (1979), and John Berendt\u27s Midnight in the Garden of Good and Evil: A Savannah Story (1994) are all instances of crime narratives that blur and thus problematize the (often thin) line between fact and fiction, and, as a result, raise issues that concern genre theory. These texts embody characteristics of journalistic, historical, (auto)biographical, and fictional accounts, and continually oscillate on the scale of factuality or fictionality.Članek se ukvarja s pripovedmi, ki bi jih najlažje opredelili kot dokumentarne romane. Takšne pripovedi lahko pogosto ubesedujejo brutalne zločine. Prispevek obravnava besedila, ki so nastala v treh različnih časovnih obdobjih, saj želimo pokazati, kako (če sploh) sta se percepcija zločina in posledično njegova ubeseditev spreminjali skozi čas. Hkrati nas zanima tudi odnos različnih piscev do dejstev (empirične realnosti), ki jih njihovi narativni diskurzi povzemajo in interpretirajo. Roman Hladnokrvno (1965) Trumana Capoteja, Krvnikova pesem (1979) Normana Mailerja in delo Johna Berendta Vrt dobrega in zlega (1994) so primeri dokumentarnih pripovedi, ki osredinjajo nasilje in problematizirajo (ponavadi precej zabrisano) ločnico med dejstvi in fikcijo ter posledično navajajo k vprašanju žanrskih klasifikacij posameznih besedil. Ti narativni diskurzi vsebujejo lastnosti novinarskih, zgodovinskih, (avto)biografskih in tudi fikcijskih pripovedi in neprestano nihajo na tehtnici/lestvici fikcijskosti oziroma faktičnosti. Fluidnost je torej inherentna in centralna lastnost tovrstnih besedil

The blending of fact and fiction in three American documentary (crime) narratives