BREAKFAST AT TIFFANY’S
"Truman Capote I do not know well, but I like him. He is tart as a
grand aunt, but in his way is a ballsy little guy, and he is the most perfect
writer of my generation, he writes the best sentences word for word, rhythm
upon rhythm. I would not have changed two words in Breakfast at Tiffany’s which
will become a small classic."
-Norman Mailer
Truman Capote was already a celebrity by the time Breakfast at Tiffany’s was released
in 1958. It was written at the end of what he called his second cycle of
writing which began with his first published novel, Other Voices, Other Rooms. Although it was never assumed by the
critics at the time, Breakfast at
Tiffany’s was to become one of the most famous and influential works
Capote ever wrote. I would put it second only to his non-fiction novel, In Cold Blood which emerged in his
third cycle.
Like Capote’s other works, including Other Voices, Other Rooms, Breakfast at Tiffany’s received mixed
reviews. Some writers called it "slight" or not living up to Capote’s
earlier work such as The Grass Harp.
William Goyan, writing for the New York Times titled his review "That Old
Valentine Maker" calling Capote that last of an old generation of romantic
"Valentine-like" writers giving the book his "unmistakable
touch." I found most reviews to be somewhat consistent, they thought the
book was funny but unrealistic or well-crafted yet faulty.
I personally found Breakfast at Tiffany’s to be a beautifully written, excellently
executed novel that not only touched me but will forever. It is a short book
that can easily be read in one sitting, but then to reflect upon it: it’s
motifs, inspirations, characters, and suggestions can take much longer. To read
my full length analysis click here.
Capote had a difficult time coming up with an
ending to the novel and it took him longer than he expected to finish it. But
Capote finally did it in the spring of 1958 and although he already had a deal
with Random House for it to come out as a book, he also signed a deal with Harper’s Bazaar entitling them to
publish it in the summer before the book came out. But unfortuately the Hearst
Corporation seemed determined on editorial integrity and tried to get Capote to
omit his use of four-letter words and the way that Holly made her living.
Capote was of course outraged and refused to change a word, thus a Hearst
executive cut Breakfast at Tiffany’s
and as Capote’s biographer Gerald Clarke said, "Without much ado, Hapter’s Bazaar had ended its long
and distinguised history of printing quality fiction."
Capote later in life said that Holly Golightly was
his favorite character. In an early version of the book her gave her the
inappropriate name of Connie Gustafson, but later gave her the more symbolic
name Holly Golightly: for she is a woman who makes a holiday of life, but
treads through it lightly. Along with the book’s publishing came what Capote
called the Holly Golightly Sweepstakes, where half the women he knew and some
he did not, claimed to be the inspiration for his character. One New York
resisdent, named Bonnie Golightly, even tried to sue Capote for invasion of
privacy and libel. But she was an overweight forty-year-old woman and lost the
lawsuit without much effect. But in truth the person that Holly most resembles
is her creator. She shares Capote’s philosophies as well as his fears and
anxieties, an example is Holly’s panic attacks which she calls "the mean
reds."
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