من اینو دوبار خوندم اما بار اول حواسم پرت بود. کتاب الکترونیک حواس منو فقط پرت می‌کنه یا برا شما هم همین‌طوره؟ :/

دفعه دوم برا اینکه حواسم پرت نشه، کندتر خوندم و سعی کردم بعد از هر باری که گذاشتمش کنار، توی ذهنم دوره‌ش کنم. شخصیت هالی رو دوست داشتم. ینی هم گذشتۀ جالبی داشت و هم نویسنده به‌نحو مطلوبی گذشته‌شو ساخته بود و رسونده بودش به هالیِ الانش. حواشی این شخصیت هم جذاب بود حتی. اون یارو شوهرش، بچه‌هاش، عشق شهرت و زندگی پرزرق و برقی که می‌خواست... راوی کارکردش فقط راوی بود. با اینکه اول شخص بود اما از یه زاویۀ دیگه. ازین نظر موافقم با بقیه که می‌گن مثل گتسبی بزرگ بود. اونجا هم راوی کارکردش برا شخصیت مقابلش بود. همچنین شخصیت مقابل هم جذابیت کافی رو واسه اینکه مرکز قرار بگیره، داشت. و خصوصیات مشترک هم داشتن. گتسبی و هالی.

اما به‌نظرم صبحانه در تیفانی خیلی قوی‌تر از گتسبی بزرگ بود. یادمه گتسبی بزرگ یه جاهاییش کند می‌شد یا حس می‌کردم زیادیه و حجمش هم بیشتر بود. صبحانه در تیفانی خیلی خلاصه، فشرده، موجز و جمع و جور بود. درنتیجه نقاط قوتش بیشتر به چشم می‌آد. داستانش هم بیشتر دوست داشتم. گتسبی بزرگ یه سری روابط آشفته بود که من اصن نمی‌تونستم درک‌شون کنم. اما اینجا نویسنده فقط روی یک شخصیت سرمایه‌گذاری کرده و تونسته ابعاد خوبی رو ازش بیرون بکشه. نحوۀ افشاسازی و کشفش هم قشنگ بود. جایی‌که عکس‌های نوجوونیِ هالی رو می‌بینه، بچه‌هاشو می‌بینه، یا اونجایی که شوهرش برمی‌گرده دنبال هالی و از زندگی‌شون برا راوی می‌گه. چقدر این تیکه معرکه بود. توی ذهن آدم می‌مونه.

هنوز فیلم رو ندیدم و انگار فیلم بهتره. ازون‌جایی که سخت‌ترین بخش داستان پایان‌بندیه، به‌نظرم پایان صبحانه در تیفانی یکی از قوی‌ترین پایان‌بندی‌هایی بود که تا حالا خونده بودم. خیلی وقت‌ها یک کاری قویه اما پایان‌بندی صرفاً در جهت تموم شدنشه. یا به‌هرحال می‌تونست بهتر باشه. چیزی که در خداحافظ گاری کوپر اتفاق افتاد به‌نظرم. اما اینجا ما یه پایان‌بندی عمیق داریم. بعد از دستگیری و بعد آزاد شدن هالی و دوباره از سر گرفتن رؤیاهای دیوانه‌وارش، راوی گربه‌شو پیدا می‌کنه و طوری توصیفش می‌کنه، انگار گربۀ هالی تجلی خود هالیه. راوی‌ای که هیچ‌وقت از گربه خوشش نمی‌اومد، حالا وقتی به گربه تشخص می‌ده و سیر زندگی‌شو درک می‌کنه و همانندسازی با هالی می‌کنه، احساسش تغییر می‌کنه. پایان فقط این نیست که هالی می‌ره دنبال دیوونه‌بازیاش. ما انتظار اینم داشتیم، با اینکه دستگیر هم شده بود. اما می‌دونستیم بالاخره که می‌آد بیرون. اگه همون‌طور می‌موند که پایان خیلی ضعیف بود. اما جریان بیرون اومدن و برزیل رفتنش هم جالب بود و نویسنده فقط خوب بهش فکر کرده بود. بعد هم گربه. این تغییر حس و تغییر مرکزیت کوچیک و نهایی رو خیلی دوست داشتم. برا پایان‌بندی می‌خوام پنج ستاره بدم.

+ هالی ازونجور شخصیت‌هایی که حین خوندن می‌گفتم دلم می‌خواد از نزدیک ببینمش.

خطر فاش شدن داستان

کتاب صبحانه در تیفانی نوشته ترومن کاپوتی ، یک شخصیت اصلی دارد و داستان حول محور او می چرخد ، خانم هالی گولایتلی
هالی سه خصوصیت اصلی دارد :
او بسیار شاد است و سرخوشانه زندگی می کند و اصولا نوع زندگی او ایجاب می کند که با مردان زیادی رابطه داشته باشد .
هالی در عین حال که باهوش هست کودن هم هست ، او با هوش خود مردان را اغوا می کند و موقعیت و فرصت برای خود فراهم می کند ولی در عین حال آنقدر نادان هم هست که پیام های رمزی یک زندانی را به خارج انتقال دهد !
مهمترین خصلت او همیشه در سفر بودن است ، همان طور که در صندوق پستیش نوشته : هالی گولایتلی در سفر . او ساکن نیست ، همیشه در حرکت است . در اطاقش همیشه همه چیز در چمدان و بسته بندی شده است . در عین حال هالی کمی هم وحشی ایست . در زیباترین بخش کتاب ، هالی خود را این گونه تعریف می کند :
شما نمی‌توانید به یک موجود وحشی دل ببندید. هرچه بیشتر دل ببندید، آن موجود قوی‌تر می‌شود. خلاصه آن‌قدر قوی می‌شود که به جنگل فرار می‌کند. یا می‌پرد روی شاخۀ درخت. بعد درختی بلندتر. بعد هم آسمان. اگر به خودت اجازه بدهی عاشق یک موجود وحشی بشوی، سرنوشتت این است که به آسمان چشم بدوزی
قهرمان دیگر کتاب گربه هالی ایست ، گربه ای که هالی برایش اسمی نگذاشته . آنها همدیگر را کنار رودخانه ای یافته اند و اصلا به هم تعلق ندارند ، به قول هالی هم او موجود مستقلی ایست هم هالی .
اما هالی اشتباه می کند . در پایان این داستان سر خوشانه گربه سروسامانی گرفته و به خانه ای خو کرده و راحت زندگیش را می کند ؛ اما هالی به سفر رفته ، هالی ایست که به قول خود به مرد ثروتمندی چسبیده و خود را در جایی از جهان گم و گور کرده

n  

I wondered what his name was, for I was certain he had one now, certain he'd arrived somewhere he belonged. African hut or whatever, I hope Holly has, too.

n
Ostensibly about Holly's unnamed and abandoned cat, this surely is also a comment on our unnamed narrator, the outsider who briefly found an emotional home in his friendship with Holly, who is equally abandoned by her though, maybe, for his own good?

For all its wit and charm, this is actually a dark and melancholy story set against NY during WW2. There's a tangible sense of yearning, and it's haunted by absence: Holly's own childhood, her family, her brother; her own absence from the people who still miss her.

At times this reminded me of a bleaker Gentlemen Prefer Blondes with a shade of Fitzgerald. The world can be a cold, scary and lonely place especially for young women without education, resources, friends or home, and it's no wonder that Holly is haunted by both the 'mean reds' and the 'fat lady'.

Capote's prose is stellar, not least in the way radiant, enchanting, joyful Holly also contains mean, jealous, amoral, damaged survivor Holly. For economy of writing, for style and stylishness, for melding the bright and the brutal, it's hard to imagine a more poignant 80 pages.

Fred, our story's narrator, has been called by Joe Bell the proprietor of Hamburg Heaven because he has heard about Holly. So begins Truman Capote's classic Breakfast at Tiffany's, the tale of New York society girl Holly Golightly. As soon as Fred hears about Holly, the story flashes back to 1943 and we begin our story of Holly.

Growing up I knew Aubrey Hepburn as Eliza Dolittle and Tiffany's as a diamond store, so I envisioned Breakfast at Tiffany's to be a tale of the upper crust of New York society dining at the Plaza Hotel. How wrong was in these thoughts. Our protagonists live in a brownstone apartment, not the Plaza. "Fred" named in honor of Holly's brother is a festering writer who seems to be Capote himself and his upstairs neighbor is a mysterious girl named Holly Golightly who adds traveling to her business cards. Until the two have any interactions, Holly remains an enigma, adding to her mystique.

Throughout the book, Holly still remains an enigma even after she and "Fred" build on their friendly, platonic relationship. Who is Holly? Is she a Hollywood starlet or Arkansas hillbilly? A New York society girl or prostitute or a member of the mafia? Because the novella is only 100 pages in length, Capote tackles all of these ideas while really building up Holly's character. Even though I prefer epic novels, I also enjoy a shorter story that flushes out a character's personality and has me captivated from the first pages. Capote's novella does this and then some, allowing me to quickly read to the conclusion.

Tiffany's does make an appearance in the novella although not the way I had thought it would. Holly in spite of all the glitz in her life, wants to be remembered the same when she has the money to eat breakfast at Tiffany's. Does this mean she will be down to earth or a multi-layered character? Will she keep the same company or dine with movie stars? Capote hints that Holly would prefer the former but never tells us, allowing for the reader to draw their own conclusions. Again, this device enabled me to read the novella in one sitting so I could find out whether or not Holly ever ate breakfast at Tiffany's.

I would be remiss if I did not mention the three other stories included in this novella. All of them bring out Capote's prose and show us why he is highly regarded as a classic American writer. The collection ends on a high note with A Christmas Memory, allowing is some insight into Capote's family life growing up. I look forward to seeing Breakfast at Tiffany's on screen to compare the movie to the book and also reading his masterpiece In Cold Blood. A 5-star classic.

Some persons live their life as if they’re just playing a game. And such is Holly Golightly – she doesn’t live, she’s travelling light… Exactly like her name may suggest.

Her bedroom was consistent with her parlor: it perpetuated the same camping-out atmosphere; crates and suitcases, everything packed and ready to go, like the belongings of a criminal who feels the law not far behind.

She doesn’t want to exist in reality, she doesn’t want to grow up, and her life goes on as though she lives in a dollhouse.

“You’re wrong. She is a phony. But on the other hand you’re right. She isn’t a phony because she’s a real phony. She believes all this crap she believes. You can’t talk her out of it. I’ve tried with tears running down my cheeks.”

She dreams her great American dream and in this way Breakfast at Tiffany's echoes The Great Gatsby by F. Scott Fitzgerald.
Holly Golightly believes that there is a crock of gold hidden at the end of the rainbow…

I don’t mean I’d mind being rich and famous. That’s very much on my schedule, and someday I’ll try to get around to it; but if it happens, I’d like to have my ego tagging along. I want to still be me when I wake up one fine morning and have breakfast at Tiffany’s.

Dreams of a beautiful life have been the ruins of many a poor girl… And the story keeps repeating.

n  
n   "Anyway, home is where you feel at home. I'm still looking."n  
n

Ok, I no longer believe in 'never Judge a book by its cover'. I read this one mainly because of it's cover. Have you ever feared being trapped by love and similar demons? It is basically about that fear.

n  
n  "You've got to be sensitive to appreciate her: a streak of the poet. But I'll tell you the truth. You can beat your brains out for her, and she'll hand you horseshit on a platter."n  
n

There are some people who, in their easy-going and wanting-to-include-everyone-in-their-joy ways become highly likable to sensitive souls, the sensitive folks find themselves emotionally invested in them only getting indifference in return. The indifference is not always because of malice. Sometimes, these people, just as Holly was, are as sensitive as others but have decided that they won't let themselves caged down even by love.

n  
"Never love a wild thing, Mr. Bell,"
n

It is a kind of life that most people are often tempted to lead. We look at the birds flying in the sky and are envious of their so-called 'freedom':

n  
"Don't wanna sleep, don't wanna die, just wanna go a-travelin' through the pastures of the sky."
n

but:

n  
"and believe me, dearest Doc -- it's better to look at the sky than live there. Such an empty place; so vague. Just a country where the thunder goes and things disappear."
n

And so, Holly learned her lesson - freedom,as we wish to see it, is an illusion. The only real freedom we can have is freedom to choose our own cage - and, what we need is to find a cage where we can feel at home. Unfortunately, it was too late.

Perché il mondo intero sembra innamorato o propenso ad innamorarsi di Holly Golightly? Per la sua bellezza? Per la sua eccentricità? Non credo. Più probabile che, conoscendola, rimanga ammaliato dalla sua assoluta libertà, da una vita condotta senza regole apparenti (o non certo secondo quelle imperanti), che oltre la sua apparente frivolezza sa nascondere profondità e tanta fragilità. Per chi conduce la propria vita lungo binari prefissati e ogni singolo giorno sente il peso del giogo che si è posto da solo sulle spalle, un simile richiamo, le prospettive che sembra schiudere non possono che essere irresistibili. Holly ha trovato la chiave per la felicità? No, perché oltre la sua travolgente energia, spesso trapelano insoddisfazione e smarrimento. Si può amare Holly sino a farla propria? Non più di quanto si potrebbe racchiuder il vento tra le proprie mani. Non più di quanto si potrebbe imbrigliare la tempesta. Come lei stessa disse: ci si può fare male ad innamorarsi di un animale selvatico.

Quite risque and controversial for its time. I can't really imagine that a movie with none other than Audrey Hepburn would stay very close to the novella. And Holly is a special kind of a character - a woman damaged so badly she will never be normal no matter how hard she tries - my favorite. It's an infinitely heartbreaking story, actually.

Delicious.

Upon finishing Truman Capote’s 1958 brilliant short novel Breakfast at Tiffany’s my first thought was that Capote had been influenced heavily by F. Scott Fitzgerald’s 1925 Jazz Age masterpiece The Great Gatsby. I was intrigued further to find that several other reviewers had noticed the same similarities. Both involve and are centrally concerned with a charismatic and alluring socialite with humble beginnings and sketchy personal details and with a subtle naiveté hidden under a mask of societal cunning bordering on the streetwise.

I would also draw a comparison between Holly and Vladimir Nabokov’s Dolores from his 1955 work Lolita. Both heroines exhibit a frank and earthy, almost playful sexuality that is intoxicating to the male characters, who pine and lust with barely contained libido.

Finally, I see similarities between Capote’s themes and settings and Hemingway’s 1926 novel The Sun Also Rises, especially between the tense platonic relationship concerning Holly and the narrator and Hemingway’s Lady Brett and Jake. Both male narrators are sad caricatures of voyeuristic and doomed love, both pale also-rans to the Latin rivals.

In Holly Golightly, Capote has created an archetypal American woman of the twentieth century, at once sexual and material, yet in a playful, teasing and fun way. He could have written another hundred pages of scenes with her and I would have been as captivated as the unnamed (except casually by Holly) narrator. Of course, Audrey Hepburn’s 1961 portrayal was so intoxicating as to become one with Capote’s vision.

Capote has penned a dandy and, like the best chocolate, it is a guilty delight.

“It’s better to look at the sky than live there. Such an empty place; so vague. Just a country where the thunder goes.”


I didn't know what to expect from Truman Capote's Breakfast at Tiffany's, but I thoroughly enjoyed how Capote told his story. This backwards (at times almost nostalgic) glance at a life which had all but vanished from anything but memory (the whimsically kind and cruel and slightly tragic Holly Golightly) reminded me more of Willa Cather's My Antonia than Capote's other seminal work, In Cold Blood. Of course, Antonia and Holly Golightly have virtually nothing in common except how they occupy the center of the narrator's imagination.

When Jim Burden explores Antonia's character, he discovers depth he didn't fully understand when he was a boy. The narrator of Breakfast at Tiffany's finds a disarmingly charming shallowness in Holly that hides complexity neither he (nor the reader) can fully understand. In the end, the Holly of Capote's novella doesn't match the charming portrayal of Audrey Hepburn in the movie, but Holly, I think, was meant to be a little darker, someone closer to tragedy than the stuff of dreams.

My dear Holly,

Now, I don't want you to take it the wrong way when I say this, but I much prefer Sally Bowles. You two were cut practically from the same cloth, as they say. I know it sounds terrible, but she's the original, isn't she, having been published twenty years before you ever made your debut? It's true, she'll always be twenty years older than you, if that's any consolation. Please don't be offended.

Regards,

JL

P.S. Do you think your creator ever read Isherwood? Had he known Isherwood? No, it's not because they're both gay, but let me tell you now that you wouldn't be you and Sally wouldn't be Sally had they both not been gay. Just my humble opinion.

در مورد کتاب صبحانه در تیفانی نوشتن برام سخته چون دچار احساسات متناقضی شدم! واقعیتش شخصت اصلی این کتاب منو یاد یه نفر انداخت که نسبت به اون هم احساسات دوگانه‌ای داشتم، گاهی شیفته و گاهی متنفر. الان در مورد این شخص هم همه چیز دوگانه بود، این که این دختر آزاد و رهاست یا بی بند و بار؟ کدومش درست تره؟ باهوشه یا ساده؟ و... به نظرم بهترین قسمت کتاب اونجاست که میگه: «شما نمی‌توانید به یک موجود وحشی دل ببندید. هرچه بیشتر دل ببندید، آن موجود قوی‌تر می‌شود. خلاصه آن‌قدر قوی می‌شود که به جنگل فرار می‌کند. یا می‌پرد روی شاخۀ درخت. بعد درختی بلندتر. بعد هم آسمان. اگر به خودت اجازه بدهی عاشق یک موجود وحشی بشوی، سرنوشتت این است که به آسمان چشم بدوزی»ه