Breakfast at Tiffany's Section 8 - Revision history

Rpugh: removed elipses and clarified external recource links

2006-04-14T19:00:17Z

removed elipses and clarified external recource links

← Older revision		Revision as of 15:00, 14 April 2006
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	When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but he is not able to go in until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor and opens the door with his key. The apartment is in complete disarray, and Holly is standing rigid on the bed, muttering about someone, whom the narrator later discovers is her brother Fred. The doctor injects her with a sedative while Jose continuously asks if "her sickness is only grief" (78). The doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and invites the narrator to sit with him and have a drink. Jose then shows the narrator the telegram from Doc Golightly that induced Holly’s tantrum. It says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."		When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but he is not able to go in until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor and opens the door with his key. The apartment is in complete disarray, and Holly is standing rigid on the bed, muttering about someone, whom the narrator later discovers is her brother Fred. The doctor injects her with a sedative while Jose continuously asks if "her sickness is only grief" (78). The doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and invites the narrator to sit with him and have a drink. Jose then shows the narrator the telegram from Doc Golightly that induced Holly’s tantrum. It says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."

	Jose moves in with Holly, and Holly stops caring so much about her appearance. "Her hair darkened, she put on weight. She became rather careless about her clothes~~...~~" (80). However, the narrator describes her as seeming "more content, altogether happier than [he'd] ever seen her" (80). She even begins cooking and learning Portuguese. During a conversation, the narrator learns that Holly is six weeks pregnant. She says she wants to have nine children with Jose and ceaselessly talks about how much she looks forward to moving with Jose to Rio, insisting that she is in love with him. The narrator, after hearing so much about Jose begins to dislike him. He even stops saying Jose's name while he is speaking to Holly and simply refers to Jose as "Him."		Jose moves in with Holly, and Holly stops caring so much about her appearance. "Her hair darkened, she put on weight. She became rather careless about her clothes" (80). However, the narrator describes her as seeming "more content, altogether happier than [he'd] ever seen her" (80). She even begins cooking and learning Portuguese. During a conversation, the narrator learns that Holly is six weeks pregnant. She says she wants to have nine children with Jose and ceaselessly talks about how much she looks forward to moving with Jose to Rio, insisting that she is in love with him. The narrator, after hearing so much about Jose begins to dislike him. He even stops saying Jose's name while he is speaking to Holly and simply refers to Jose as "Him."

	== Notes ==		== Notes ==
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	The main turning point, it seems, in Holly's rebellious ways is the death of her brother, Fred. Fred represented her willingness to run up to this point in the novella. His death, like the death of Holly's freedom, is violent and sudden as Jose converts her into a house wife. Furthermore, Holly mourns her brother's death as much as she seems to subconsiously pine for her old ways of travel. In her conversations with the narrator, she seems unresolved with the idea of spending the rest of her life with Jose. Yes, she wishes to spend time with him, but she finds so many faults in him. She even tells the narrator that she would not choose to be with Jose if she had the ability to go back in time. Obviously she is trying to convince herself that she ''is'' in love with Jose because now she is pregnant. She continues to repeat over and over again that she loves him. She does admit, though, that Jose is her first "non-rat" lover in her life. This is an easy statement to believe, as most early references to Holly's love life make strong references to prostitution. Taking men to the powder room and coming out with money, for example. She labels all of her past lovers "rats," but she forces herself to see an allure in them. "She feels that she has to if she is going to continue to make a living out of it (prostitution). And not only that, but she hopes to secure her financial future just as easily" (Cash).		The main turning point, it seems, in Holly's rebellious ways is the death of her brother, Fred. Fred represented her willingness to run up to this point in the novella. His death, like the death of Holly's freedom, is violent and sudden as Jose converts her into a house wife. Furthermore, Holly mourns her brother's death as much as she seems to subconsiously pine for her old ways of travel. In her conversations with the narrator, she seems unresolved with the idea of spending the rest of her life with Jose. Yes, she wishes to spend time with him, but she finds so many faults in him. She even tells the narrator that she would not choose to be with Jose if she had the ability to go back in time. Obviously she is trying to convince herself that she ''is'' in love with Jose because now she is pregnant. She continues to repeat over and over again that she loves him. She does admit, though, that Jose is her first "non-rat" lover in her life. This is an easy statement to believe, as most early references to Holly's love life make strong references to prostitution. Taking men to the powder room and coming out with money, for example. She labels all of her past lovers "rats," but she forces herself to see an allure in them. "She feels that she has to if she is going to continue to make a living out of it (prostitution). And not only that, but she hopes to secure her financial future just as easily" (Cash).

	This stage of the story is one of the narrator's last chances to tell Holly how he really feels. So why doesn't he? More than likely, he has noticed the pattern that Holly has presented with her other relationships. Every time a man tries to keep her for himself, Holly simply runs away. The narrator, knowing that trying to tie her down will end in failure, assumes that acting indifferent will result in Holly staying as close to him as possible for a longer period of time. [[Image:Hollynfred.jpg\|thumb\|Holly and the Narrator ]]Though his "plan" seems to work for a time, the narrator could not forsee Holly's drastic change into a housewife resulting from pregnancy. The narrator's reaction to Holly's new condition is easily pitiful. He simply sinks into a pool and drowns in his own self pity. This self pity may even be the result of future events with Holly. After all, ''he'' has never tried to sweep Holly off her feet. She may have simply been testing the narrator to see whether or not he really loved her. On the other hand, she may have considered the narrator to be gay. She believed, "If a man doesn't like baseball, then he must like horses, and if he doesn't like either of them, well, I'm in trouble anyway: he don't like girls" (38). Holly found that the narrator did not care for either, so she may have believed that he was gay. If she did, her opinion of his sexuality would have explained her disinterest in him. "~~...~~Capote describes Holly's two closest friends- the narrator and Joe Bell- as homosexuals, though he does so with such a delicate touch that many critics have failed to recognize these characters as gay" (Pugh). Pugh suggests that Holly's friendship with gay men are one sign of her progressive sexual politics. Holly states, "A person ought to be able to marry men or women or--listen, if you came to me and said you wanted to hitch up with Man o' War, I'd respect your feeling. No, I'm serious. Love should be allowed" (83). Depending on Holly's perspective, her utter lack of feelings for the narrator, despite their intimacy, could have stemmed from a false assumption of his sexuality.		This stage of the story is one of the narrator's last chances to tell Holly how he really feels. So why doesn't he? More than likely, he has noticed the pattern that Holly has presented with her other relationships. Every time a man tries to keep her for himself, Holly simply runs away. The narrator, knowing that trying to tie her down will end in failure, assumes that acting indifferent will result in Holly staying as close to him as possible for a longer period of time. [[Image:Hollynfred.jpg\|thumb\|Holly and the Narrator ]]Though his "plan" seems to work for a time, the narrator could not forsee Holly's drastic change into a housewife resulting from pregnancy. The narrator's reaction to Holly's new condition is easily pitiful. He simply sinks into a pool and drowns in his own self pity. This self pity may even be the result of future events with Holly. After all, ''he'' has never tried to sweep Holly off her feet. She may have simply been testing the narrator to see whether or not he really loved her. On the other hand, she may have considered the narrator to be gay. She believed, "If a man doesn't like baseball, then he must like horses, and if he doesn't like either of them, well, I'm in trouble anyway: he don't like girls" (38). Holly found that the narrator did not care for either, so she may have believed that he was gay. If she did, her opinion of his sexuality would have explained her disinterest in him. "Capote describes Holly's two closest friends- the narrator and Joe Bell- as homosexuals, though he does so with such a delicate touch that many critics have failed to recognize these characters as gay" (Pugh). Pugh suggests that Holly's friendship with gay men are one sign of her progressive sexual politics. Holly states, "A person ought to be able to marry men or women or--listen, if you came to me and said you wanted to hitch up with Man o' War, I'd respect your feeling. No, I'm serious. Love should be allowed" (83). Depending on Holly's perspective, her utter lack of feelings for the narrator, despite their intimacy, could have stemmed from a false assumption of his sexuality.

	Regardless of her true intentions, this section ends with the narrator giving a wonderful metaphor. "So the days, the last days, blow about in memory, hazy, autumnal, all alike as leaves: until a day unlike any other I've lived" (84-85). The narrator's final days with Holly are described as falling leaves before winter. One has seen leaves before, but they all seem the same. Rarely does any one leaf stand out in memory. One can only remember falling leaves look alike. The narrator feels the same way about his final days with Holly. He can tell little difference between them, and he spends most of the time with her worrying about the time that she would be away from him. Also, like falling leaves, these memories seem to blow away, unable to be caught or held onto as a keepsake.		Regardless of her true intentions, this section ends with the narrator giving a wonderful metaphor. "So the days, the last days, blow about in memory, hazy, autumnal, all alike as leaves: until a day unlike any other I've lived" (84-85). The narrator's final days with Holly are described as falling leaves before winter. One has seen leaves before, but they all seem the same. Rarely does any one leaf stand out in memory. One can only remember falling leaves look alike. The narrator feels the same way about his final days with Holly. He can tell little difference between them, and he spends most of the time with her worrying about the time that she would be away from him. Also, like falling leaves, these memories seem to blow away, unable to be caught or held onto as a keepsake.
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	== External Resources ==		== External Resources ==
	*[http://www.kirjasto.sci.fi/capote.htm Books and Writers: Truman Capote]. 2003		*[http://www.kirjasto.sci.fi/capote.htm Books and Writers: Truman Capote]. 2003 Biography On Author
	*[http://www.pbs.org/wnet/americanmasters/database/capote_t.html American Masters: Truman Capote]		*[http://www.pbs.org/wnet/americanmasters/database/capote_t.html American Masters: Truman Capote] Biography On Author

	== Works Cited ==		== Works Cited ==

Lbrown: /* Summary */

2006-03-23T20:57:06Z

Summary

← Older revision		Revision as of 16:57, 23 March 2006
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	Section eight begins with the title to a shocking newspaper clipping. It reads, "Trawler marries fourth" (74). The narrator reads this clip while riding the subway home from an unsuccessful job interview with “PM,” a newspaper that is now closed. He immediately assumes that Rusty Trawler has taken Holly to be his fourth wife, but later reads that Rusty has married Mag, not Holly!		Section eight begins with the title to a shocking newspaper clipping. It reads, "Trawler marries fourth" (74). The narrator reads this clip while riding the subway home from an unsuccessful job interview with “PM,” a newspaper that is now closed. He immediately assumes that Rusty Trawler has taken Holly to be his fourth wife, but later reads that Rusty has married Mag, not Holly!

	When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but he is not able to go in until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor and opens the door with his key. The apartment is in complete disarray, and Holly is standing rigid on the bed, muttering ~~an incoherent description of~~ someone, whom the narrator ~~assumes is Rusty Trawler, but he~~ later discovers it is ~~actually of~~ her brother, Fred. The doctor ~~begins to soothe Holly and~~ injects her with a sedative. Jose continuously asks ~~the doctor~~ if "her sickness is only grief" (78) ~~before the~~ doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and invites the narrator to sit with him and have a drink. Jose then shows the narrator the telegram that induced Holly’s tantrum. It ~~is from Doc Golightly and~~ says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."		When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but he is not able to go in until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor and opens the door with his key. The apartment is in complete disarray, and Holly is standing rigid on the bed, muttering about someone, whom the narrator later discovers is her brother Fred. The doctor injects her with a sedative while Jose continuously asks if "her sickness is only grief" (78). The doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and invites the narrator to sit with him and have a drink. Jose then shows the narrator the telegram from Doc Golightly that induced Holly’s tantrum. It says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."

	Jose moves in with Holly~~, replacing Mag as her roommate~~, and Holly stops caring so much about her appearance. "Her hair darkened, she put on weight. She became rather careless about her clothes..." (80). However, the narrator describes her as seeming "more content, altogether happier than [he'd] ever seen her" (80). She ~~buys cookbooks~~ and ~~starts learning how to make strange dishes while failing at cooking the most simple of recipes. She also begins~~ learning Portuguese. During a conversation, the narrator learns that Holly is six weeks pregnant. She says she wants to have nine children with Jose and ceaselessly talks about how much she looks forward to moving with Jose to Rio, insisting that she is in love with him~~. Later, though, she says that Jose is not her idea of a perfect man. She tells the narrator "If I were free to, I would not pick Jose" (82)~~. The narrator, after hearing so much about Jose begins to dislike him. He even stops saying Jose's name while he is speaking to Holly and simply refers to Jose as "Him."		Jose moves in with Holly, and Holly stops caring so much about her appearance. "Her hair darkened, she put on weight. She became rather careless about her clothes..." (80). However, the narrator describes her as seeming "more content, altogether happier than [he'd] ever seen her" (80). She even begins cooking and learning Portuguese. During a conversation, the narrator learns that Holly is six weeks pregnant. She says she wants to have nine children with Jose and ceaselessly talks about how much she looks forward to moving with Jose to Rio, insisting that she is in love with him. The narrator, after hearing so much about Jose begins to dislike him. He even stops saying Jose's name while he is speaking to Holly and simply refers to Jose as "Him."

	== Notes ==		== Notes ==

Lbrown: /* Summary */

2006-03-23T20:52:51Z

Summary

← Older revision		Revision as of 16:52, 23 March 2006
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	== Summary ==		== Summary ==
	Section eight begins with the title to a shocking newspaper clipping. It reads, "Trawler marries fourth" (74). The narrator reads this clip while riding the subway home from an unsuccessful job interview with “PM,” a newspaper that is now closed. He immediately assumes that Rusty Trawler has taken Holly to be his fourth wife, ~~laer~~ reads that Rusty has married Mag, not Holly!		Section eight begins with the title to a shocking newspaper clipping. It reads, "Trawler marries fourth" (74). The narrator reads this clip while riding the subway home from an unsuccessful job interview with “PM,” a newspaper that is now closed. He immediately assumes that Rusty Trawler has taken Holly to be his fourth wife, but later reads that Rusty has married Mag, not Holly!

	When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but he is not able to go in until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor and opens the door with his key. The apartment is in complete disarray, and Holly is standing rigid on the bed, muttering an incoherent description of someone, whom the narrator assumes is Rusty Trawler, but he later discovers it is actually of her brother, Fred. The doctor begins to soothe Holly and injects her with a sedative. Jose continuously asks the doctor if "her sickness is only grief" (78) before the doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and invites the narrator to sit with him and have a drink. Jose then shows the narrator the telegram that induced Holly’s tantrum. It is from Doc Golightly and says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."		When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but he is not able to go in until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor and opens the door with his key. The apartment is in complete disarray, and Holly is standing rigid on the bed, muttering an incoherent description of someone, whom the narrator assumes is Rusty Trawler, but he later discovers it is actually of her brother, Fred. The doctor begins to soothe Holly and injects her with a sedative. Jose continuously asks the doctor if "her sickness is only grief" (78) before the doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and invites the narrator to sit with him and have a drink. Jose then shows the narrator the telegram that induced Holly’s tantrum. It is from Doc Golightly and says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."

Lbrown: /* Summary - Dr. Lucas asked that the summaries be shorter*/

2006-03-23T20:51:55Z

Summary - Dr. Lucas asked that the summaries be shorter

← Older revision		Revision as of 16:51, 23 March 2006
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	== Summary ==		== Summary ==
	Section eight begins with the title to a shocking newspaper clipping. It reads, "Trawler marries fourth" (74). The narrator reads this clip while riding the subway home from an unsuccessful job interview with “PM,” a newspaper that is now closed. He immediately assumes that Rusty Trawler has taken Holly to be his fourth wife~~. This immediately triggers the infamous “mean reds.” After going through an emotional battle with himself on the train ride~~, ~~he buys a paper and finishes the headline. He soon realizes~~ Rusty has married Mag, not Holly!		Section eight begins with the title to a shocking newspaper clipping. It reads, "Trawler marries fourth" (74). The narrator reads this clip while riding the subway home from an unsuccessful job interview with “PM,” a newspaper that is now closed. He immediately assumes that Rusty Trawler has taken Holly to be his fourth wife, laer reads that Rusty has married Mag, not Holly!

	When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but ~~no matter how many times~~ he ~~calls, Holly will~~ not ~~come~~ to ~~the door. He tries to break it down,~~ until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor~~. Jose~~ opens the ~~apartment~~ door with his ~~own~~ key~~, and the trio proceeds through it~~. ~~They find the~~ apartment in complete disarray~~. The cat is lapping up milk from the floor~~, and Holly is standing rigid on the bed~~. She is~~ muttering an incoherent description of someone, whom the narrator assumes is Rusty Trawler, but he later discovers it is actually of her brother, Fred. The doctor begins to soothe Holly and injects her with a sedative. Jose continuously asks the doctor if "her sickness is only grief" (78)~~. With this question,~~ the doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and ~~almost repeats this action with the narrator; instead, Jose~~ invites the narrator to sit with him and have a drink~~, which happens to be the only bottle that survived Holly's rampage~~. Jose then shows the narrator the telegram that induced Holly’s tantrum. It is from Doc Golightly and says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."		When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but he is not able to go in until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor and opens the door with his key. The apartment is in complete disarray, and Holly is standing rigid on the bed, muttering an incoherent description of someone, whom the narrator assumes is Rusty Trawler, but he later discovers it is actually of her brother, Fred. The doctor begins to soothe Holly and injects her with a sedative. Jose continuously asks the doctor if "her sickness is only grief" (78) before the doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and invites the narrator to sit with him and have a drink. Jose then shows the narrator the telegram that induced Holly’s tantrum. It is from Doc Golightly and says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."

	Jose moves in with Holly, replacing Mag as her roommate, and Holly stops caring so much about her appearance. "Her hair darkened, she put on weight. She became rather careless about her clothes..." (80). However, the narrator describes her as seeming "more content, altogether happier than [he'd] ever seen her" (80). She buys cookbooks and starts learning how to make strange dishes while failing at cooking the most simple of recipes. She also begins learning Portuguese.		Jose moves in with Holly, replacing Mag as her roommate, and Holly stops caring so much about her appearance. "Her hair darkened, she put on weight. She became rather careless about her clothes..." (80). However, the narrator describes her as seeming "more content, altogether happier than [he'd] ever seen her" (80). She buys cookbooks and starts learning how to make strange dishes while failing at cooking the most simple of recipes. She also begins learning Portuguese. During a conversation, the narrator learns that Holly is six weeks pregnant. She says she wants to have nine children with Jose and ceaselessly talks about how much she looks forward to moving with Jose to Rio, insisting that she is in love with him. Later, though, she says that Jose is not her idea of a perfect man. She tells the narrator "If I were free to, I would not pick Jose" (82). The narrator, after hearing so much about Jose begins to dislike him. He even stops saying Jose's name while he is speaking to Holly and simply refers to Jose as "Him."

	During a conversation, the narrator learns that Holly is six weeks pregnant. She says she wants to have nine children with Jose and ceaselessly talks about how much she looks forward to moving with Jose to Rio~~. She insists~~ that she is in love with ~~Jose~~, ~~but~~ she ~~seems to find a fault in every habit that Jose has. She even~~ says that Jose is not her idea of a perfect man. She tells the narrator "If I were free to, I would not pick Jose" (82). The narrator, after hearing so much about Jose begins to dislike him. He even stops saying Jose's name while he is speaking to Holly and simply refers to Jose as "Him."

	One day, on an outing, Holly observes ships sailing by and exclaims, "one day, one of those ships will bring me back, me and my nine Brazilian brats" (84). The narrator, tired of hearing about her "brats" and Jose, interrupts by saying "Do shut up" (84). He clearly feels left out, "like a tug boat in dry-dock while she, glittery voyager of secure destination, [steams] down the harbor with whistles whistling and confetti in the air" (84).

	== Notes ==		== Notes ==

Rscot899 at 03:03, 23 March 2006

2006-03-23T03:03:50Z

← Older revision		Revision as of 23:03, 22 March 2006
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	== Commentary ==		== Commentary ==
	Capote seems to have known someone in his life that he loved as much as the narrator loves Holly." He describes this woman in such a way that you get the sense he has molded her on someone that intrigued him, that held some allure or had an aura of mysticism that left a deep impression." ~~[http://kimbofo.typepad.com/readingmatters/2006/01/breakfast_at_ti.html~~ (Kimbofo)] On the other hand, he may have intended to spark a female movement of freedom to do what they want." <i>BaT</i> "inspired women to pack their bags and seek their fortunes in New York and all over the country." ~~[http://www-personal.umich.edu/~bcash/criticalanalysis.html~~ (Cash)] If this was his goal, then he certainly achieved it! In any case, he portrays very well his anguish upon "learning" that Holly has married Rusty. [[Image:breakfast.gif\|thumb\|Holly]]These emotions of desire, love, jealousy, and ~~lonliness~~ really seem to resonate throughout this section. The narrator, despite knowing that Holly is not yet married, watches mournfully as Holly is converted into an expecting mother of six weeks by Jose. Holly also mentions Jose in almost every conversation. The once "party girl-about-town and exuberant phony" ~~[http://www.jp41.dial.pipex.com/R735.HTML (Prior)]~~ that he knew becomes a mostly content stay-at-home-wife.		Capote seems to have known someone in his life that he loved as much as the narrator loves Holly." He describes this woman in such a way that you get the sense he has molded her on someone that intrigued him, that held some allure or had an aura of mysticism that left a deep impression" (Kimbofo). On the other hand, he may have intended to spark a female movement of freedom to do what they want." <i>BaT</i> "inspired women to pack their bags and seek their fortunes in New York and all over the country" (Cash). If this was his goal, then he certainly achieved it! In any case, he portrays very well his anguish upon "learning" that Holly has married Rusty. [[Image:breakfast.gif\|thumb\|Holly]]These emotions of desire, love, jealousy, and loneliness really seem to resonate throughout this section. The narrator, despite knowing that Holly is not yet married, watches mournfully as Holly is converted into an expecting mother of six weeks by Jose. Holly also mentions Jose in almost every conversation. The once "party girl-about-town and exuberant phony" that he knew becomes a mostly content stay-at-home wife (Prior).

	The main turning point, it seems, in Holly's rebellious ways is the death of her brother, Fred. Fred represented her willingness to run up to this point in the novella. His death, like the death of Holly's freedom, is violent and sudden as Jose converts her into a house wife. Furthermore, Holly mourns her brother's death as much as she seems to subconsiously pine for her old ways of travel. In her conversations with the narrator, she seems unresolved with the idea of spending the rest of her life with Jose. Yes, she wishes to spend time with him, but she finds so many faults in him. She even tells the narrator that she would not choose to be with Jose if she had the ability to go back in time. Obviously she is trying to convince herself that she ''is'' in love with Jose because now she is pregnant. She continues to repeat over and over again that she loves him. She does admit, though, that Jose is her first "non-rat" lover in her life. This is an easy statement to believe, as most early references to Holly's love life make strong references to prostitution. Taking men to the powder room and coming out with money, for example. She labels all of her past lovers "rats", but she forces herself to see an allure in them. "She feels that she has to if she is going to continue to make a living out of it (prostitution). And not only that, but she hopes to secure her financial future just as easily." ~~[http://www-personal.umich.edu/~bcash/criticalanalysis.html~~ (Cash)]		The main turning point, it seems, in Holly's rebellious ways is the death of her brother, Fred. Fred represented her willingness to run up to this point in the novella. His death, like the death of Holly's freedom, is violent and sudden as Jose converts her into a house wife. Furthermore, Holly mourns her brother's death as much as she seems to subconsiously pine for her old ways of travel. In her conversations with the narrator, she seems unresolved with the idea of spending the rest of her life with Jose. Yes, she wishes to spend time with him, but she finds so many faults in him. She even tells the narrator that she would not choose to be with Jose if she had the ability to go back in time. Obviously she is trying to convince herself that she ''is'' in love with Jose because now she is pregnant. She continues to repeat over and over again that she loves him. She does admit, though, that Jose is her first "non-rat" lover in her life. This is an easy statement to believe, as most early references to Holly's love life make strong references to prostitution. Taking men to the powder room and coming out with money, for example. She labels all of her past lovers "rats," but she forces herself to see an allure in them. "She feels that she has to if she is going to continue to make a living out of it (prostitution). And not only that, but she hopes to secure her financial future just as easily" (Cash).

	This stage of the story is one of the narrator's last chances to tell Holly how he really feels. So why doesn't he? More than likely, he has noticed the pattern that Holly has presented with her other relationships. Every time a man tries to keep her for himself, Holly simply runs away. The narrator, knowing that trying to tie her down will end in failure, assumes that acting indifferent will result in Holly staying as close to him as possible for a longer period of time. [[Image:Hollynfred.jpg\|thumb\|Holly and the Narrator ]]Though his "plan" seems to work for a time, the narrator could not forsee Holly's drastic change into a housewife resulting from pregnancy. The narrator's reaction to Holly's new condition is easily pitiful. He simply sinks into a pool and drowns in his own self pity. This self pity may even be the result of future events with Holly. After all, ''he'' has never tried to sweep Holly off her feet. She may have simply been testing the narrator to see whether or not he really loved her. On the other hand, she may have considered the narrator to be gay. She believed, "If a man doesn't like baseball, then he must like horses, and if he doesn't like either of them, well, I'm in trouble anyway: he don't like girls" (38). Holly found that the narrator did not care for either, so she may have believed that he was gay. If she did, her opinion of his sexuality would have explained her disinterest in him. "...Capote describes Holly's two closest friends- the narrator and Joe Bell- as homosexuals, though he does so with such a delicate touch that many critics have failed to recognize these characters as gay" (Pugh). Pugh suggests that Holly's friendship with gay men are one sign of her progressive sexual politics. Holly states, "A person ought to be able to marry men or women or--listen, if you came to me and said you wanted to hitch up with Man o' War, I'd respect your feeling. No, I'm serious. Love should be allowed" (~~Capote~~ 83). Depending on Holly's perspective, her utter lack of feelings for the narrator, despite their intimacy, could have stemmed from a false assumption of his sexuality.		This stage of the story is one of the narrator's last chances to tell Holly how he really feels. So why doesn't he? More than likely, he has noticed the pattern that Holly has presented with her other relationships. Every time a man tries to keep her for himself, Holly simply runs away. The narrator, knowing that trying to tie her down will end in failure, assumes that acting indifferent will result in Holly staying as close to him as possible for a longer period of time. [[Image:Hollynfred.jpg\|thumb\|Holly and the Narrator ]]Though his "plan" seems to work for a time, the narrator could not forsee Holly's drastic change into a housewife resulting from pregnancy. The narrator's reaction to Holly's new condition is easily pitiful. He simply sinks into a pool and drowns in his own self pity. This self pity may even be the result of future events with Holly. After all, ''he'' has never tried to sweep Holly off her feet. She may have simply been testing the narrator to see whether or not he really loved her. On the other hand, she may have considered the narrator to be gay. She believed, "If a man doesn't like baseball, then he must like horses, and if he doesn't like either of them, well, I'm in trouble anyway: he don't like girls" (38). Holly found that the narrator did not care for either, so she may have believed that he was gay. If she did, her opinion of his sexuality would have explained her disinterest in him. "...Capote describes Holly's two closest friends- the narrator and Joe Bell- as homosexuals, though he does so with such a delicate touch that many critics have failed to recognize these characters as gay" (Pugh). Pugh suggests that Holly's friendship with gay men are one sign of her progressive sexual politics. Holly states, "A person ought to be able to marry men or women or--listen, if you came to me and said you wanted to hitch up with Man o' War, I'd respect your feeling. No, I'm serious. Love should be allowed" (83). Depending on Holly's perspective, her utter lack of feelings for the narrator, despite their intimacy, could have stemmed from a false assumption of his sexuality.

	Regardless of her true intentions, this section ends with the narrator giving a wonderful metaphor. "So the days, the last days, blow about in memory, hazy, autumnal, all alike as leaves: until a day unlike any other I've lived"(84-85). The narrator's final days with Holly are described as falling leaves before winter. One has seen leaves before, but they all seem the same. Rarely does any one leaf stand out in memory. One can only remember falling leaves look alike. The narrator feels the same way about his final days with Holly. He can tell little difference between them, and he spends most of the time with her worrying about the time that she would be away from him. Also, like falling leaves, these memories seem to blow away, unable to be caught or held onto as a keepsake.		Regardless of her true intentions, this section ends with the narrator giving a wonderful metaphor. "So the days, the last days, blow about in memory, hazy, autumnal, all alike as leaves: until a day unlike any other I've lived" (84-85). The narrator's final days with Holly are described as falling leaves before winter. One has seen leaves before, but they all seem the same. Rarely does any one leaf stand out in memory. One can only remember falling leaves look alike. The narrator feels the same way about his final days with Holly. He can tell little difference between them, and he spends most of the time with her worrying about the time that she would be away from him. Also, like falling leaves, these memories seem to blow away, unable to be caught or held onto as a keepsake.

	== Study Questions ==		== Study Questions ==

Egoolsby: Added navigational links at bottom

2006-03-23T02:13:30Z

Added navigational links at bottom

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	*Pugh, Tison. "Capote's Breakfast at Tiffany's." The Explicator 6.1 (Fall 2002): 51-53.		*Pugh, Tison. "Capote's Breakfast at Tiffany's." The Explicator 6.1 (Fall 2002): 51-53.
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	[[Breakfast at Tiffany's]]		[[Breakfast at Tiffany's Section 7\|Section seven]] \| [[Breakfast at Tiffany's]] \| [[Breakfast at Tiffany's Section 9\|Section nine]]
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Rscot899 at 02:01, 23 March 2006

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	== Summary ==		== Summary ==
	Section eight ~~of Truman Capote's <i>Breakfast at Tiffany's</i>~~ begins with the title to a shocking newspaper clipping. It reads, "Trawler marries fourth" (74). The narrator reads this clip while riding the subway home from an unsuccessful job interview with ~~“PM”~~, a newspaper that is now closed. He immediately assumes that Rusty Trawler has taken Holly to be his fourth wife. This immediately triggers the infamous “mean ~~reds”~~. After going through an emotional battle with himself on the train ride, he ~~bought~~ a paper and ~~finished~~ the headline. ~~It ends up~~ Rusty married Mag, not Holly!		Section eight begins with the title to a shocking newspaper clipping. It reads, "Trawler marries fourth" (74). The narrator reads this clip while riding the subway home from an unsuccessful job interview with “PM,” a newspaper that is now closed. He immediately assumes that Rusty Trawler has taken Holly to be his fourth wife. This immediately triggers the infamous “mean reds.” After going through an emotional battle with himself on the train ride, he buys a paper and finishes the headline. He soon realizes Rusty has married Mag, not Holly!

	When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but no matter how many times he calls, Holly will not come to the door. He tries to break it down, until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor. Jose opens the apartment door with his own key and the trio proceeds through it. They find the apartment in complete disarray. The cat is lapping up milk from the floor, and Holly is standing rigid on the bed. She is muttering an incoherent description of someone, whom the narrator assumes is Rusty Trawler, but he later discovers it is actually of her brother, Fred. The doctor begins to soothe Holly and injects her with a sedative. Jose continuously asks the doctor if "her sickness is only grief" (78). With this question, the doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and almost repeats this action with the narrator; instead, Jose invites the narrator to sit with him and have a drink, which happens to be the only bottle that survived Holly's rampage. Jose then shows the narrator the telegram that induced Holly’s tantrum. It is from Doc Golightly and says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."		When he reaches his apartment building, Madame Spanella is screaming for the police to come, and he hears a lot of noise coming from Holly’s apartment. The narrator goes and bangs on Holly’s door and everything seems to quiet down, but no matter how many times he calls, Holly will not come to the door. He tries to break it down, until Jose Ybarra-Jager, Mag Wildwood's ex-fiancé, arrives with a doctor. Jose opens the apartment door with his own key, and the trio proceeds through it. They find the apartment in complete disarray. The cat is lapping up milk from the floor, and Holly is standing rigid on the bed. She is muttering an incoherent description of someone, whom the narrator assumes is Rusty Trawler, but he later discovers it is actually of her brother, Fred. The doctor begins to soothe Holly and injects her with a sedative. Jose continuously asks the doctor if "her sickness is only grief" (78). With this question, the doctor kicks both Jose and the narrator out of the room. [[Image:Tiffanys_riceexplosion_scap.jpg\|thumb\|Holly Cooking ]]Out of anger, Jose kicks Madame Spanella out of the apartment and almost repeats this action with the narrator; instead, Jose invites the narrator to sit with him and have a drink, which happens to be the only bottle that survived Holly's rampage. Jose then shows the narrator the telegram that induced Holly’s tantrum. It is from Doc Golightly and says that Fred was killed in action. Because of this, Holly stops calling the narrator "Fred."

	Jose moves in with Holly, replacing Mag as her roommate and Holly stops caring so much about her appearance. "Her hair darkened, she put on weight. She became rather careless about her clothes..." (80). However, the narrator describes her as seeming "more content, altogether happier than I'd ever seen her" (80). She buys cookbooks and starts learning how to make strange dishes while failing at cooking the most simple of recipes. She also begins learning Portuguese.		Jose moves in with Holly, replacing Mag as her roommate, and Holly stops caring so much about her appearance. "Her hair darkened, she put on weight. She became rather careless about her clothes..." (80). However, the narrator describes her as seeming "more content, altogether happier than [he'd] ever seen her" (80). She buys cookbooks and starts learning how to make strange dishes while failing at cooking the most simple of recipes. She also begins learning Portuguese.

	During a conversation, the narrator learns that Holly is six weeks pregnant. She says she wants to have nine children with Jose, and ceaselessly talks about how much she looks forward to moving with Jose to Rio. She insists that she is in love with Jose, but she seems to find a fault in every habit that Jose has. She even says that Jose is not her idea of a perfect man. "If I were free to~~...~~,~~" Holly continues, "~~I would not pick Jose" (82). The narrator, after hearing so much about Jose begins to dislike ~~Jose~~. He even stops saying Jose's name while he is speaking to Holly and simply refers to Jose as "Him."		During a conversation, the narrator learns that Holly is six weeks pregnant. She says she wants to have nine children with Jose and ceaselessly talks about how much she looks forward to moving with Jose to Rio. She insists that she is in love with Jose, but she seems to find a fault in every habit that Jose has. She even says that Jose is not her idea of a perfect man. She tells the narrator "If I were free to, I would not pick Jose" (82). The narrator, after hearing so much about Jose begins to dislike him. He even stops saying Jose's name while he is speaking to Holly and simply refers to Jose as "Him."

	One day, on an outing, Holly observes ships sailing by and exclaims, "one day, one of those ships will bring me back, me and my nine ~~Brazilin~~ brats" (84). The narrator, tired of hearing about her "brats" and Jose, ~~says~~ "Do shut up"(84). He clearly ~~felt~~ left out, "like a tug boat in dry-dock while she, glittery voyager of secure destination, ~~steamed~~ down the harbor with whistles whistling and confetti in the air" (84).		One day, on an outing, Holly observes ships sailing by and exclaims, "one day, one of those ships will bring me back, me and my nine Brazilian brats" (84). The narrator, tired of hearing about her "brats" and Jose, interrupts by saying "Do shut up" (84). He clearly feels left out, "like a tug boat in dry-dock while she, glittery voyager of secure destination, [steams] down the harbor with whistles whistling and confetti in the air" (84).

	== Notes ==		== Notes ==

Rscot899 at 01:39, 23 March 2006

2006-03-23T01:39:48Z

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	== Commentary ==		== Commentary ==
	Capote seems to have known someone in his life that he loved as much as the narrator loves Holly." He describes this woman in such a way that you get the sense he has molded her on someone that intrigued him, that held some allure or had an aura of mysticism that left a deep impression." [http://kimbofo.typepad.com/readingmatters/2006/01/breakfast_at_ti.html (Kimbofo)] On the other hand, he may have intended to spark a female movement of freedom to do what they want." <i>BaT</i> "inspired women to pack their bags and seek their fortunes in New York and all over the country." [http://www-personal.umich.edu/~bcash/criticalanalysis.html (Cash)] If this was his goal, then he certainly achieved it! In any case, he portrays very well his anguish upon "learning" that Holly has married Rusty. [[Image:breakfast.gif\|thumb\|Holly]]These emotions of desire, love, jealousy, and lonliness really seem to resonate throughout this section. The narrator, despite knowing that Holly is not yet married, watches mournfully as Holly is converted into an expecting mother of six weeks by Jose. Holly also mentions Jose in almost every conversation. The once "party girl-about-town and exuberant phony" [http://www.jp41.dial.pipex.com/R735.HTML (Prior)] that he knew becomes a mostly content stay-at-home-wife.		Capote seems to have known someone in his life that he loved as much as the narrator loves Holly." He describes this woman in such a way that you get the sense he has molded her on someone that intrigued him, that held some allure or had an aura of mysticism that left a deep impression." [http://kimbofo.typepad.com/readingmatters/2006/01/breakfast_at_ti.html (Kimbofo)] On the other hand, he may have intended to spark a female movement of freedom to do what they want." <i>BaT</i> "inspired women to pack their bags and seek their fortunes in New York and all over the country." [http://www-personal.umich.edu/~bcash/criticalanalysis.html (Cash)] If this was his goal, then he certainly achieved it! In any case, he portrays very well his anguish upon "learning" that Holly has married Rusty. [[Image:breakfast.gif\|thumb\|Holly]]These emotions of desire, love, jealousy, and lonliness really seem to resonate throughout this section. The narrator, despite knowing that Holly is not yet married, watches mournfully as Holly is converted into an expecting mother of six weeks by Jose. Holly also mentions Jose in almost every conversation. The once "party girl-about-town and exuberant phony" [http://www.jp41.dial.pipex.com/R735.HTML (Prior)] that he knew becomes a mostly content stay-at-home-wife.


	The main turning point, it seems, in Holly's rebellious ways is the death of her brother, Fred. Fred represented her willingness to run up to this point in the novella. His death, like the death of Holly's freedom, is violent and sudden as Jose converts her into a house wife. Furthermore, Holly mourns her brother's death as much as she seems to subconsiously pine for her old ways of travel. In her conversations with the narrator, she seems unresolved with the idea of spending the rest of her life with Jose. Yes, she wishes to spend time with him, but she finds so many faults in him. She even tells the narrator that she would not choose to be with Jose if she had the ability to go back in time. Obviously she is trying to convince herself that she ''is'' in love with Jose because now she is pregnant. She continues to repeat over and over again that she loves him. She does admit, though, that Jose is her first "non-rat" lover in her life. This is an easy statement to believe, as most early references to Holly's love life make strong references to prostitution. Taking men to the powder room and coming out with money, for example. She labels all of her past lovers "rats", but she forces herself to see an allure in them. "She feels that she has to if she is going to continue to make a living out of it (prostitution). And not only that, but she hopes to secure her financial future just as easily." [http://www-personal.umich.edu/~bcash/criticalanalysis.html (Cash)]		The main turning point, it seems, in Holly's rebellious ways is the death of her brother, Fred. Fred represented her willingness to run up to this point in the novella. His death, like the death of Holly's freedom, is violent and sudden as Jose converts her into a house wife. Furthermore, Holly mourns her brother's death as much as she seems to subconsiously pine for her old ways of travel. In her conversations with the narrator, she seems unresolved with the idea of spending the rest of her life with Jose. Yes, she wishes to spend time with him, but she finds so many faults in him. She even tells the narrator that she would not choose to be with Jose if she had the ability to go back in time. Obviously she is trying to convince herself that she ''is'' in love with Jose because now she is pregnant. She continues to repeat over and over again that she loves him. She does admit, though, that Jose is her first "non-rat" lover in her life. This is an easy statement to believe, as most early references to Holly's love life make strong references to prostitution. Taking men to the powder room and coming out with money, for example. She labels all of her past lovers "rats", but she forces herself to see an allure in them. "She feels that she has to if she is going to continue to make a living out of it (prostitution). And not only that, but she hopes to secure her financial future just as easily." [http://www-personal.umich.edu/~bcash/criticalanalysis.html (Cash)]
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	== External Resources ==		== External Resources ==
	*[http://www.kirjasto.sci.fi/capote.htm Books and Writers: Truman Capote]. 2003		*[http://www.kirjasto.sci.fi/capote.htm Books and Writers: Truman Capote]. 2003

	*[http://www.pbs.org/wnet/americanmasters/database/capote_t.html American Masters: Truman Capote]		*[http://www.pbs.org/wnet/americanmasters/database/capote_t.html American Masters: Truman Capote]

	== Works Cited ==		== Works Cited ==
	*Cash, Matthew. [http://www-personal.umich.edu/~bcash/criticalanalysis.html A Travelin' Through the Pastures of the Sky: A Critical Analysis of <i>Breakfast at Tiffany's</i>]. 1996.		*Cash, Matthew. [http://www-personal.umich.edu/~bcash/criticalanalysis.html A Travelin' Through the Pastures of the Sky: A Critical Analysis of <i>Breakfast at Tiffany's</i>]. 1996.

	*Kimbofo. [http://kimbofo.typepad.com/readingmatters/2006/01/breakfast_at_ti.html <i>Breakfast at Tiffany's</i> Reviews]. "Reading Matters." 17 January 2006. 18 March 2006.		*Kimbofo. [http://kimbofo.typepad.com/readingmatters/2006/01/breakfast_at_ti.html <i>Breakfast at Tiffany's</i> Reviews]. "Reading Matters." 17 January 2006. 18 March 2006.

	*Prior, Lily. [http://www.jp41.dial.pipex.com/R735.html <i>Breakfast at Tiffany's</i> Review]. 18 March 2006.		*Prior, Lily. [http://www.jp41.dial.pipex.com/R735.html <i>Breakfast at Tiffany's</i> Review]. 18 March 2006.

	*Pugh, Tison. "Capote's Breakfast at Tiffany's." The Explicator 6.1 (Fall 2002): 51-53.		*Pugh, Tison. "Capote's Breakfast at Tiffany's." The Explicator 6.1 (Fall 2002): 51-53.
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	[[Breakfast at Tiffany's]]		[[Breakfast at Tiffany's]]
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			----

Rscot899 at 00:53, 23 March 2006

2006-03-23T00:53:19Z

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	== External Resources ==		== External Resources ==
			*[http://www.kirjasto.sci.fi/capote.htm Books and Writers: Truman Capote]. 2003

	*~~http://www.kirjasto.sci.fi/capote.htm~~		*[http://www.pbs.org/wnet/americanmasters/database/capote_t.html American Masters: Truman Capote]

	*http://www.kirjasto.sci.fi/capote.htm

	*http://www.randomhouse.com/modernlibrary/catalog/display.pperl?isbn=9780679600237

	*http://www.pbs.org/wnet/americanmasters/database/capote_t.html

	*http:~~//lionreference.chadwyck.com/searchFulltext.do?id=BIO002992&divLevel=0&queryId=../session/1142957921_29363&area=ref&forward=critref_ft~~

	== Works Cited ==		== Works Cited ==
	*~~Prior~~, ~~Lily~~. ~~"''Breakfast At Tiffany's'' Review."~~		*Cash, Matthew. [http://www-personal.umich.edu/~bcash/criticalanalysis.html A Travelin' Through the Pastures of the Sky: A Critical Analysis of <i>Breakfast at Tiffany's</i>]. 1996.
	~~18 March 2006.<~~http://www.~~jp41~~.~~dial.pipex.com~~/~~R735~~.~~HTML~~>

	*Kimbofo. "''At Breakfast Tiffany's~~'' Reviews."~~
	~~''Reading Matters''. 17 January 2006. 18 March 2006.~~
	<~~http://kimbofo.typepad.com/readingmatters/2006/01~~/~~breakfast_at_ti.html~~>

	*Pugh, Tison.: Capote's Breakfast at Tiffany's.
	~~Explicator (Helen Dwight Reid Educational Foundation, Washington, DC) (61:1) [Fall 2002~~] ~~, p~~.~~51-53~~.

	*~~Capote, Truman~~. ''Breakfast At Tiffany's''. ~~New York: Random House, Inc, 1958~~.		*Kimbofo. [http://kimbofo.typepad.com/readingmatters/2006/01/breakfast_at_ti.html <i>Breakfast at Tiffany's</i> Reviews]. "Reading Matters." 17 January 2006. 18 March 2006.

	*~~Cash~~, ~~Matthew~~. [http://www~~-personal~~.~~umich~~.~~edu~~/~~~bcash/criticalanalysis~~.html ~~A Travelin' Through the Pastures of the Sky: A Critical Analysis of~~ <i>Breakfast at Tiffany's</i>]. ~~1996~~.		*Prior, Lily. [http://www.jp41.dial.pipex.com/R735.html <i>Breakfast at Tiffany's</i> Review]. 18 March 2006.

			*Pugh, Tison. "Capote's Breakfast at Tiffany's." The Explicator 6.1 (Fall 2002): 51-53.
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	[[Breakfast at Tiffany's]]		[[Breakfast at Tiffany's]]

Rbeard: /* Commentary */

2006-03-22T18:16:34Z

Commentary

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	The main turning point, it seems, in Holly's rebellious ways is the death of her brother, Fred. Fred represented her willingness to run up to this point in the novella. His death, like the death of Holly's freedom, is violent and sudden as Jose converts her into a house wife. Furthermore, Holly mourns her brother's death as much as she seems to subconsiously pine for her old ways of travel. In her conversations with the narrator, she seems unresolved with the idea of spending the rest of her life with Jose. Yes, she wishes to spend time with him, but she finds so many faults in him. She even tells the narrator that she would not choose to be with Jose if she had the ability to go back in time. Obviously she is trying to convince herself that she ''is'' in love with Jose because now she is pregnant. She continues to repeat over and over again that she loves him. She does admit, though, that Jose is her first "non-rat" lover in her life. This is an easy statement to believe, as most early references to Holly's love life make strong references to prostitution. Taking men to the powder room and coming out with money, for example. She labels all of her past lovers "rats", but she forces herself to see an allure in them. "She feels that she has to if she is going to continue to make a living out of it (prostitution). And not only that, but she hopes to secure her financial future just as easily." [http://www-personal.umich.edu/~bcash/criticalanalysis.html (Cash)]		The main turning point, it seems, in Holly's rebellious ways is the death of her brother, Fred. Fred represented her willingness to run up to this point in the novella. His death, like the death of Holly's freedom, is violent and sudden as Jose converts her into a house wife. Furthermore, Holly mourns her brother's death as much as she seems to subconsiously pine for her old ways of travel. In her conversations with the narrator, she seems unresolved with the idea of spending the rest of her life with Jose. Yes, she wishes to spend time with him, but she finds so many faults in him. She even tells the narrator that she would not choose to be with Jose if she had the ability to go back in time. Obviously she is trying to convince herself that she ''is'' in love with Jose because now she is pregnant. She continues to repeat over and over again that she loves him. She does admit, though, that Jose is her first "non-rat" lover in her life. This is an easy statement to believe, as most early references to Holly's love life make strong references to prostitution. Taking men to the powder room and coming out with money, for example. She labels all of her past lovers "rats", but she forces herself to see an allure in them. "She feels that she has to if she is going to continue to make a living out of it (prostitution). And not only that, but she hopes to secure her financial future just as easily." [http://www-personal.umich.edu/~bcash/criticalanalysis.html (Cash)]

	This stage of the story is one of the narrator's last chances to tell Holly how he really feels. So why doesn't he? More than likely, he has noticed the pattern that Holly has presented with her other relationships. Every time a man tries to keep her for himself, Holly simply runs away. The narrator, knowing that trying to tie her down will end in failure, assumes that acting indifferent will result in Holly staying as close to him as possible for a longer period of time. [[Image:Hollynfred.jpg\|thumb\|Holly and the Narrator ]]Though his "plan" seems to work for a time, the narrator could not forsee Holly's drastic change into a housewife resulting from pregnancy. The narrator's reaction to Holly's new condition is easily pitiful. He simply sinks into a pool and drowns in his own self pity. This self pity may even be the result of future events with Holly. After all, ''he'' has never tried to sweep Holly off her feet. She may have simply been testing the narrator to see whether or not he really loved her. On the other hand, she may have considered the narrator to be gay. She believed, "If a man doesn't like baseball, then he must like horses, and if he doesn't like either of them, well, I'm in trouble anyway: he don't like girls" (38). Holly found that the narrator did not care for either, so she may have believed that he was gay. If she did, her opinion of his sexuality would have explained her disinterest in him. "...Capote describes Holly's two closest friends- the narrator and Joe Bell- as homosexuals, though he does so with such a delicate touch that many critics have failed to recognize these characters as gay" (Pugh) Depending on Holly's perspective, her utter lack of feelings for the narrator, despite their intimacy, could have stemmed from a false assumption of his sexuality.		This stage of the story is one of the narrator's last chances to tell Holly how he really feels. So why doesn't he? More than likely, he has noticed the pattern that Holly has presented with her other relationships. Every time a man tries to keep her for himself, Holly simply runs away. The narrator, knowing that trying to tie her down will end in failure, assumes that acting indifferent will result in Holly staying as close to him as possible for a longer period of time. [[Image:Hollynfred.jpg\|thumb\|Holly and the Narrator ]]Though his "plan" seems to work for a time, the narrator could not forsee Holly's drastic change into a housewife resulting from pregnancy. The narrator's reaction to Holly's new condition is easily pitiful. He simply sinks into a pool and drowns in his own self pity. This self pity may even be the result of future events with Holly. After all, ''he'' has never tried to sweep Holly off her feet. She may have simply been testing the narrator to see whether or not he really loved her. On the other hand, she may have considered the narrator to be gay. She believed, "If a man doesn't like baseball, then he must like horses, and if he doesn't like either of them, well, I'm in trouble anyway: he don't like girls" (38). Holly found that the narrator did not care for either, so she may have believed that he was gay. If she did, her opinion of his sexuality would have explained her disinterest in him. "...Capote describes Holly's two closest friends- the narrator and Joe Bell- as homosexuals, though he does so with such a delicate touch that many critics have failed to recognize these characters as gay" (Pugh). Pugh suggests that Holly's friendship with gay men are one sign of her progressive sexual politics. Holly states, "A person ought to be able to marry men or women or--listen, if you came to me and said you wanted to hitch up with Man o' War, I'd respect your feeling. No, I'm serious. Love should be allowed" (Capote 83). Depending on Holly's perspective, her utter lack of feelings for the narrator, despite their intimacy, could have stemmed from a false assumption of his sexuality.

	Regardless of her true intentions, this section ends with the narrator giving a wonderful metaphor. "So the days, the last days, blow about in memory, hazy, autumnal, all alike as leaves: until a day unlike any other I've lived"(84-85). The narrator's final days with Holly are described as falling leaves before winter. One has seen leaves before, but they all seem the same. Rarely does any one leaf stand out in memory. One can only remember falling leaves look alike. The narrator feels the same way about his final days with Holly. He can tell little difference between them, and he spends most of the time with her worrying about the time that she would be away from him. Also, like falling leaves, these memories seem to blow away, unable to be caught or held onto as a keepsake.		Regardless of her true intentions, this section ends with the narrator giving a wonderful metaphor. "So the days, the last days, blow about in memory, hazy, autumnal, all alike as leaves: until a day unlike any other I've lived"(84-85). The narrator's final days with Holly are described as falling leaves before winter. One has seen leaves before, but they all seem the same. Rarely does any one leaf stand out in memory. One can only remember falling leaves look alike. The narrator feels the same way about his final days with Holly. He can tell little difference between them, and he spends most of the time with her worrying about the time that she would be away from him. Also, like falling leaves, these memories seem to blow away, unable to be caught or held onto as a keepsake.