![]() Capote’s characteristic resorting to almost vaudevillian devices weakens his originally serious conception of his character, thins it down and so, in mid-reading, forces the reader to a dimmer view of her. and asks us to believe psychological motivations compelling Holly that we are not prone to put our faith in, very seriously. He also plunges his reader into an unbelievable melodrama involving crime, defrocked priests, lost brothers, etc. Capote begins to make up a plot involving Holly and one Sally Tomato (a dope peddler serving a term in Sing Sing) he vitiates the up-to-then sharp power of his character. ![]() “Holly Golightly flew not into the sky but into Tiffany’s and decided that if she could find ‘a real-life place that made me feel like Tiffany’s, then I’d buy some furniture and give the cat a name…” When her piney-woods husband comes to New York and explains the psychological and spiritual basis for her behavior, Holly seems to the reader less feasible. ![]() Until they’re strong enough to run into the woods. Capote makes her say, in lucid and poetic explanation of herself, ‘Never love a wild thing … you can’t give your heart to a wild thing the more you do, the stronger they get. ![]() She is a wild thing searching for something to belong to. ![]()
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