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Breakfast at Tiffany's Section 3: Difference between revisions
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One could suggest that Capote had his own life experiences in mind when writing ''Breakfast at Tiffany’s'' and that he is the [[narrator]]. He modeled the [[character]] of Holly Golightly after six women that he was intrigued with, which were Phoebe Pierce, Gloria Vanderbilt, Carol Marcus, Doris Lilly, Anky Larrabee, and Oona O’Neill (Clarke 64). | One could suggest that Capote had his own life experiences in mind when writing ''Breakfast at Tiffany’s'' and that he is the [[narrator]]. He modeled the [[character]] of Holly Golightly after six women that he was intrigued with, which were Phoebe Pierce, Gloria Vanderbilt, Carol Marcus, Doris Lilly, Anky Larrabee, and Oona O’Neill (Clarke 64). | ||
In 1964 Capote had written a letter to Alvin Dewey III admitting that Holly was indeed a real girl, but the incidences he writes about her are mostly fictional (Clarke 401). In his later years Capote admits “It’s too bad I don’t like going to bed with women” and further states that he loves attractive and beautiful women only as friends, not lovers (Clarke 93-94). This would explain the basis of how he molded the character of Holly and the relationship between her and the narrator which never becomes sexual. | In 1964 Capote had written a letter to Alvin Dewey III admitting that Holly was indeed a real girl, but the incidences he writes about her are mostly fictional (Clarke 401). In his later years Capote admits “It’s too bad I don’t like going to bed with women” and further states that he loves attractive and beautiful women only as friends, not lovers (Clarke 93-94). This would explain the basis of how he molded the character of Holly and the relationship between her and the narrator which never becomes sexual. However, many scholars miss the existence of homosexuality in the novella, therefore missing some of the key parts that explains the sexual dynamics (Pugh 51). | ||
The narrator is characterized as having his nose pressed against the glass and wanting to be on the inside staring out (Capote 48). In a conversation with Lawrence Grobel, Capote admits “yes, looking in, seeing something that he wanted to be inside of” (Grobel 88). This is indicative of Capote/the narrator being fascinated with the life style of Holly Golightly. | The narrator is characterized as having his nose pressed against the glass and wanting to be on the inside staring out (Capote 48). In a conversation with Lawrence Grobel, Capote admits “yes, looking in, seeing something that he wanted to be inside of” (Grobel 88). This is indicative of Capote/the narrator being fascinated with the life style of Holly Golightly. | ||