Truman Capote’s Breakfast at Tiffany’s captured the flagrant, almost imprudent personality of a young woman who seeks nothing but self-advancement and fulfillment. The eye-candy appeal of Holly Golightly, which she feels is to her benefit, is actually the essence of the path to her downfall–her ultimate unhappiness. By recognizing that she can take advantage of her physical attributes, she abuses them so that she can seduce her way into a supposedly rich, extravagant lifestyle. Capote seems to mock her by repeatedly including characters that promise her a stable life, such as the narrator, Doc, and O.J. Berman. Golightly misses the chance for redemption for her foolish actions every time and instead is bent on a life of perpetual “change.” But the irony is that when change occurs–like the death of her brother, Fred–she is crushed and brought down again to confront her vulnerability. She cannot run away from being susceptible to emotions, no matter to which new city she relocates. But by the time she realizes this, her fate has been set.

When I read this book, I was reminded somewhat of the New Woman trend that permeated through the early 1900s. Although the plot of this book takes place much later during World War 2, it seems that the principles still remained, if not gotten much more strong. The New Woman embodied independence and a recognition of identity. In literature, she challenged patriarchal authority and customary manners. Holly Golightly seems to take these values to the extreme and never settles for less that what she wants. But in the end, this independent, egotistical way of thinking that appeared to promise freedom only enchained her to a pathetic way of living aimlessly.