Another objection to the New Criticism is that it is thought to aim at making criticism scientific, or at least “bringing literary study to a condition rivaling that of science.”  René Wellek , however, points out the erroneous nature of this criticism by noting that a number of the New Critics outlined their theoretical aesthetics in stark contrast to the "objectivity" of the sciences (although Ransom, in his essay "Criticism, Inc." did advocate that "criticism must become more scientific, or precise and systematic").  
The much-anticipated first section of In Cold Blood appeared in The New Yorker in September of 1965, breaking the magazine’s sales record. The four installments garnered the highest praise from critics and readers alike, who commended their “Homeric” storytelling and the depth of Capote’s characterization, especially of Dick and Perry. When the book was finally published in full by Random House in early 1966, his new “masterpiece” rocketed Capote to celebrity status, and ranked him among the literary giants of his era. In Cold Blood remains one of the most significant works of literature of the twentieth century, both for its merging of journalistic and literary storytelling, and for its unprecedented insight into the nature of criminality in American culture.