to grapple with the distinction between reality and fiction, a theme Capote later revisited in his nonfiction work, "In Cold Blood."

Ultimately, "Breakfast at Tiffany's" challenges readers to question their understanding of the truth. Holly's character, described by her agent as a "real phony," epitomizes the paradox of reality. The narrative voice, seemingly straightforward and journalistic, forces readers to confront the limitations of memory and perception, as every recollection represents a subjective angle.

As the novella concludes, readers find themselves no closer to comprehending Holly's intricate emotional world or her various relationships. Much like the photo of the African carving resembling Holly, the narrative remains distant, thrice removed from its elusive subject. This deliberate ambiguity forms the crux of Capote's achievement, leaving readers with the unsettling realization that understanding does not always equate to clarity, and that proximity to the truth can often obscure it further.

In this novel, like many of Capote's works, symbols play a crucial role. The first notable symbol is the African statue in a photograph taken by I. Y. Yunioshi, Holly's former neighbor. This wooden sculpture, which merges the elongated head of a primitive style with Holly's facial features, signifies her role as the feminine ideal. This ideal appeals not only to civilized men like Joe Bell and the American photographer but also to primitive artists like the African woodcarver. Holly's ability to inspire art is further explored in this novel, which, for the narrator, is an attempt to understand her personality and her allure to nearly all types of men.

Another significant symbol is the ornate birdcage that the narrator admires and Holly purchases for him. While the narrator sees this cage as another piece of art, Holly views it as a symbol of lost freedom. Consequently, she cannot appreciate its inherent beauty. When the narrator angrily returns it to her, she dismisses both its artistic and monetary value by casually tossing it onto a trash heap. However, the narrator, whose values sharply contrast with hers, retrieves it.

The transient nature of Holly's life is evident in the way her apartment is furnished. She appears to be constantly in motion, with suitcases and unpacked crates serving as her only furniture. These crates double as tables for drinks, a lamp, a bowl of flowers, and her cat. Holly refuses to buy proper chairs and tables until she finds a place where she feels she belongs. Similarly, the cat remains unnamed because Holly is unwilling to take on even that minimal level of commitment to another living being.

Color symbolism is also prominent in Capote's novels. Holly is frequently associated with various colors, from the bowl of yellow roses in her apartment to her red cat and her white satin bed. However, she is primarily linked to the emotion she calls "the mean reds," her term for deep depression. This feeling can only be alleviated by having breakfast at Tiffany's. Her most intense bouts with "the mean reds" occur when she learns of her brother's death and again when she suffers a miscarriage. She confides in the narrator that during the latter event, she nearly died, or as she puts it, "the fat lady nearly got her."

Tiffany's itself is a significant symbol in the novel. For Holly, this store represents the stability, status, and taste she desires in her life. She spends hours outside the store, gazing in. Although she tells the narrator she has only bought calling cards there because she feels indebted to Tiffany's, these cards symbolize hope. This hope is further represented by the St. Christopher medal the narrator later buys for her from Tiffany's.

Modern readers might find Breakfast at Tiffany's somewhat outdated. The outlaws in the story resemble characters from the musical Guys and Dolls more than any present-day Mafia figures. Similarly, Holly Golightly's attitude seems to echo those of the 1950s beat writers and the 1960s flower children. The 1950s' more reserved approach to discussing sexual topics is also clearly evident. Overall, readers might consider the novel as a reflection of its cultural era.

1. One of the most ambiguous aspects of the novel is the narrator's relationship with Holly. Initially, she treats him like a surrogate brother, and in many ways, that dynamic persists throughout the story. However, Joe Bell hints that the narrator might have had sexual fantasies about her, and the narrator himself suggests that he wrote the novel to understand his feelings. How does he truly feel about Holly? How does his perspective influence the reader's view of her?

2. Capote was very dissatisfied with the film adaptation of Breakfast at Tiffany's. How does the novel differ from the movie? Why were these changes made in the film version?

3. Although much of the novel's action occurs during World War II, the war seems to have little impact on the events. How do wartime conditions influence the novel? Why did Capote choose not to emphasize the war?

4. The novel is essentially a retrospective narrative, framed by the narrator's more recent interactions with Holly and her friends. What effects does Capote achieve by using this narrative structure?

5. Breakfast at Tiffany's does not seem to be a typical Capote novel. In what ways does this novel differ from his earlier works? How can these differences be explained? In what ways is it similar to other Capote novels?

6. It has been reported that one of Capote's literary rivals accused him of borrowing elements from other writers and from the popular culture of the time. What are some elements that have parallels in other fiction? Are Holly and the narrator examples of the antiheroes, or at least unlikely heroes, that were emerging in the 1950s?

7. What does Tiffany's mean to the various characters—especially Holly and the narrator? What does Tiffany's represent in today's popular culture? How has that meaning evolved since the 1950s?

8. What is Holly's attitude toward money, possessions, and any form of permanence? Does the narrator continue to share her views? Why is it significant that near the end of the novel, the narrator reveals that the cat has finally found a home? Has the narrator also found a home? Does he believe Holly has? Is he likely to be correct?

9. While the novel often downplays and treats sexuality with some ambiguity, it is clear that Holly leaves a lasting impression on every man she encounters. Why is that the case? What does the narrator imply about the men who do not find themselves drawn to Holly? Conversely, why do most women appear to dislike her? Does their attitude reflect the stereotypes of women and their roles prevalent in the 1950s?

10. The novelist James Michener once mentioned that Holly Golightly was modeled after a young woman both he and Capote knew well. Without such a statement, would Holly still be a believable character? In what ways is her behavior realistic? Which traits seem exaggerated?

Written in 1958, Breakfast at Tiffany's captures the emerging concerns of postwar America and foreshadows the turbulent 1960s. During the late 1950s, Congress shifted its focus from subversives to the Mafia, uncovering the Mafia's involvement in drug distribution and its infiltration of cafe society. Truman Capote's character, Holly Golightly, becomes entangled in this scandal. Her benefactor, "Sally" Tomato, is a Mafia kingpin imprisoned at Sing Sing. Holly, asked to make an old man happy by visiting him every Thursday morning, agrees, unaware that Sally and his associate Oliver O'Shaughnessy are using her to relay messages about the drug trade. At the novel's climax, Holly is arrested, and the resulting scandal not only makes her a social outcast but also costs her everything.

Holly's views on conventional morality also reflect the early stages of the sexual revolution in 1958; she discusses prostitution and homosexuality in a straightforward manner, suggesting that both offer benefits to everyone involved. While Holly is not the first prostitute to be portrayed sympathetically, both the author and his narrator seem to accept and even admire how she has used men financially to create her identity and sustain her lifestyle. Characters who condemn her are depicted as despicable, self-righteous, and hypocritical. In contrast, Capote highlights Holly's innocence and integrity. She explains to the narrator that she always manages to "like" the men in her life; even when they are "rats," she convinces herself that she actually likes rats. Therefore, when she discovers that Sally Tomato has exploited her naivete, she remains loyal to him, insisting that he has always been kind to her and refusing to cooperate with the police against him.

Holly Golightly seems to fit into the literary tradition of the picaro or the charming nonconformist who believes society's rules don't apply to her. Her natural innocence connects her to characters like Huckleberry Finn, who aren't exactly truthful but aren't genuinely dishonest either. Conversely, her openness about sexuality is reminiscent of Tom Jones (Henry Fielding, 1749).

The depiction of law enforcement and criminals is similar to that in the popular 1950s musical Guys and Dolls. Since Capote presents Sally Tomato and Father O'shaughnessy almost entirely through Holly's perspective, they come across as characters from Damon Runyon's stories or even the legendary tales of Robin Hood and Friar Tuck.

In both technique and tone, Breakfast at Tiffany's mirrors several of Capote's other nostalgic, retrospective works, such as A Christmas Memory (1966), The Thanksgiving Visitor (1968), and The Grass Harp (1951; see separate entry). These stories often depict a young boy's journey to adulthood, heavily influenced by an eccentric female character. This "coming of age" theme and memoir style are recurring elements in Capote's writing, from his debut novel Other Voices, Other Rooms (1948; see separate entry) to various sections of the posthumously released Answered Prayers (1987).

In 1961, Paramount Pictures released a popular film loosely based on Breakfast at Tiffany's. Though Capote reportedly envisioned Marilyn Monroe as Holly, Audrey Hepburn ultimately took on the role. The narrator, named Paul Varjak in the film, was portrayed by George Peppard. Other notable actors included Patricia Neal as the downstairs neighbor, Buddy Ebsen as Doc Golightly, Martin Balsam as O. J. Berman, Alan Reed as Sally Tomato, and Mickey Rooney as the Japanese photographer I. Y. Yunioshi. For more information, visit the following URL: http://us.imdb.com/.

Capote later voiced strong dissatisfaction with the casting choices, particularly Audrey Hepburn and Mickey Rooney. He was even more displeased with the director, Blake Edwards. A few years before his death, Capote mentioned he wished for a remake with Jodie Foster as Holly. Despite this, the film is perhaps best remembered for its iconic musical theme "Moon River" by Henry Mancini and Johnny Mercer, and it remains popular enough to have an entire website dedicated to it: Elizabeth's Breakfast at Tiffany's Website.