Breakfast at Tiffany’s

Reviewed by Melanie on April 4, 2017


It’s a book. It’s a movie (that I haven’t seen). It’s by Truman Capote. It’s narrated by Michael C. Hall. This book seemed to have it all, unfortunately it fell short of my expectations.

I haven’t read a ton of the classics, I like more contemporary fiction than anything, but I do love the older eras. The Roaring Twenties, the Ad Men era of the 60s, these appeal to me when people were more proper, always well dressed, the men in suits with hats cocked sideways, the women with full makeup and dressed exquisitely. I hoped that my love for the old ways of life would make this book an instant favorite but found the story rather dull and was glad that it was over rather quickly.

All of the men in the story are infatuated with Holly Golightly, and she seems to actually be a horrible person. The main character, a struggling write is obsessed with Holly, a young society girl.

While I understand that the “time” then was different than it is now, Holly is a gold digging floozy, and that’s putting it nicely.

Michael C. Hall does a great job narrating the book, the book just doesn’t appeal to me.

Breakfast at Tiffany's Book Cover Breakfast at Tiffany's
Truman Capote, Narrated by Michael C. Hall
Classics, Fictions, Short Stories, American Literature, Literature
Audible Studios

Golden Globe-winning actor Michael C. Hall (Dexter, Six Feet Under) performs Truman Capote's provocative, naturalistic masterstroke about a young writer's charmed fascination with his unorthodox neighbor, the "American geisha" Holly Golightly. Holly - a World War II-era society girl in her late teens - survives via socialization, attending parties and restaurants with men from the wealthy upper class who also provide her with money and expensive gifts. Over the course of the novella, the seemingly shallow Holly slowly opens up to the curious protagonist, who eventually gets tossed away as her deepening character emerges.

Breakfast at Tiffany's, Truman Capote's most beloved work of fiction, introduced an independent and complex character who challenged audiences, revived Audrey Hepburn's flagging career in the 1961 film version, and whose name and style has remained in the national idiom since publication. Hall uses his diligent attention to character to bring our unnamed narrator’s emotional vulnerability to the forefront of this American classic.

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