Breakfast at Tiffany's and Three Stories

Breakfast at Tiffany's and Three Stories

by Truman Capote

Paperback(First Vintage International Edition)

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Overview

In this seductive, wistful masterpiece, Truman Capote created a woman whose name has entered the American idiom and whose style is a part of the literary landscape. Holly Golightly knows that nothing bad can ever happen to you at Tiffany's; her poignancy, wit, and naïveté continue to charm.

This volume also includes three of Capote's best-known stories, “House of Flowers,” “A Diamond Guitar,” and “A Christmas Memory,” which the Saturday Review called “one of the most moving stories in our language.” It is a tale of two innocents—a small boy and the old woman who is his best friend—whose sweetness contains a hard, sharp kernel of truth.

Product Details

ISBN-13: 9780679745655
Publisher: Knopf Doubleday Publishing Group
Publication date: 09/28/1993
Series: Vintage International
Edition description: First Vintage International Edition
Pages: 160
Sales rank: 26,161
Product dimensions: 5.14(w) x 7.99(h) x 0.53(d)
Age Range: 14 - 18 Years

About the Author

Truman Capote (1924-84) rose to international prominence in 1948 with the publication of his debut novel, Other Voices, Other Rooms. His other works of fiction include Breakfast at Tiffany's, A Tree of Night, The Grass Harp, and Summer Crossing, the author's long-lost first novel, which was rediscovered in 2004 and published by Random House in 2005. He is also the author of Portraits and Observations: The Essays of Truman Capote. His nonfiction novel In Cold Blood is widely considered one of the greatest books of the twentieth century.

Date of Birth:

September 30, 1924

Date of Death:

August 25, 1984

Place of Birth:

New Orleans, Louisiana

Place of Death:

Los Angeles, California

Education:

Trinity School and St. John's Academy in New York City and Greenwich High School in Connecticut

Reading Group Guide

The discussion questions and other material that are intended to enhance your group’s conversation about Breakfast at Tiffany’s, Truman Capote’s brilliant novella about two friends living in a Manhattan apartment building during World War II, and the three classic short stories also included in the volume.

A. Breakfast at Tiffany’s

1. The story begins when the bartender Joe Bell and the narrator talk about Mr. Yunioshi’s report that Holly Golightly had been living in Africa.  What aura does the opening chapter lend to the character of Holly?  What feelings does Holly evoke in Joe Bell?
 
2. What does Holly mean by her advice about powder-room change to Sid Arbuck, when she refuses to let him into her apartment (12, 21)?  Holly tells the narrator, “I’ve simply trained myself to like older men, and it was the smartest thing I ever did” (16).  Why has she trained herself?  How does Holly support herself?
 
3. Holly decides to call the narrator “Fred” after her brother.  Why, after her brother’s death, does she stop calling him Fred (63)?
 
4. O. J. Berman tells the narrator that Holly is a phony.  What does he mean?  Why has she decided not to become a Hollywood actress (24-25, 31)?
 
5. What does Holly mean by “the mean reds”?  Why does Tiffany’s, the luxury jewelry store on Fifth Avenue, make her feel better (32)?
 
6. When the narrator and Holly tell each other stories about their childhoods, Holly admits that hers is untrue (43-44).  Is Holly dishonest, or is she, like the narrator, a kind of storytelling artist?  How would you describe Holly’s approach to life?
 
7. Why is Rusty Trawler a good choice as a boyfriend for Holly?  Why does Holly allow the narrator to see her in the bathtub and in other states of undress?  What is assumed but never stated about his sexuality?
 
8. The story takes a surprising turn with the arrival of Doc Golightly.  How is he described?  How do his story, and the photograph he shows the narrator, transform your understanding of Holly and her past (52-56)?
 
9. Holly has transformed herself into a stylish New Yorker, but how much is she still attached to her past?  How does Holly explain her feelings for Doc (58)?  How does she react to the death of her brother Fred (63-67)?
 
10. The narrator sees a birdcage in an antique shop, and later Holly buys it for him as a surprise gift, but tells him never to keep a living thing in it (47).  Later, she tells Joe Bell, “Never love a wild thing, Mr. Bell” (59).  Does Holly imply anything about herself and her relationships with these references?
 
11. Holly explains her ideas about ethics: “It’s a bore, but the answer is good things only happen to you if you’re good.  Good?  Honest is more what I mean.  Not law-type honest...but unto-thyself-type honest.  Be anything but a coward, a pretender, an emotional crook, a whore: I’d rather have cancer than a dishonest heart” (66).  Would you agree?  Does Holly have a high standard of behavior for herself?
 
12. While Holly seems genuinely to care about the narrator, she seems to have no other real friends. At the party, she makes the gathering of men understand that Mag Wildwood has a sexually transmitted disease (36).  Does her opportunism with regard to the rich men in her life also extend to Mag?  Does she see Mag as a rival?  Why then does she decide to let Meg move in with her (42)?
 
13. The narrator describes a walk with Holly to Chinatown, a chow mein supper and a walk across the Brooklyn Bridge.  “On the bridge, as we watched the seaward-moving ships pass between the cliffs of burning skyline,” she tells him that many years hence, she will bring her “nine Brazilian brats” back to see New York (67).  Why is the narrator sad at this moment?  Is theirs an ideal friendship?
 
14. We are reminded of the suffering in Holly’s life when she loses “the heir,” when José leaves her, and when she tells the narrator about her hallucinations of “the fat woman” after Fred’s death (77-82).  Considering what Holly has been through in her earlier life and the fact that she is now under criminal indictment, what do you think of her attitude toward her future?
 
15. During the drive to the airport, Holly lets her cat out onto the street and then regrets it.  The narrator fulfills his promise to find the cat—who has a new home—and he completes the tale with the hope that Holly, too, has arrived where she belongs.  Capote told The Paris Review, “Finding the right form for your story is simply to realize the most natural way of telling the story. The test of whether or not a writer has divined the natural shape of his story is just this: after reading it, can you imagine it differently, or does it silence your imagination and seem to you absolute and final?”  Is Breakfast at Tiffany’s an example of Capote’s ideal?  Do you find the story’s structure, with its interlocking beginning and ending, satisfying? 
 
16. Norman Mailer wrote, “Truman Capote is the most perfect writer of my generation.  He writes the best sentences word for word, rhythm upon rhythm.”  Ask each person in your group to choose a favorite sentence, and discuss why Capote is such a great prose stylist.

B. “House of Flowers”

1. Why are Rosita and Baby surprised that Ottilie will not return to the city with them? 
Why is it significant to their bond that Royal and Ottilie are both country people, and both believe in voodoo?  Why does she stay with him after he has punished her?

C. “A Diamond Guitar”

1. Given the description of Mr. Schaeffer (111-112), why do you think he is drawn to Tico Feo?  What details of description and character intensify the emotion of this love story? 

D. “A Christmas Memory”

1. How does the scarcity of money bring out the creativity and generosity in these two friends? 

2.  The old woman realizes, after they fly their kites together, that she doesn’t have to wait for death to see divinity: “I’ll wager at the very end a body realizes the Lord has already shown Himself.  That things as they are...just what they’ve always seen, was seeing Him.  As for me, I could leave the world with today in my eyes” (141).  Why is this insight especially relevant on Christmas?  Why, when the boy later hears the news of her death, does he feel that it as “sever[s] from me an irreplaceable part of myself, letting it loose like a kite on a broken string” (142)?

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